Unveiling Cécile McLorin Salvant’s Enchanting Ogresse in Edinburgh International Festival
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#cécilemclorinsalvantCécile McLorin Salvant, the talented jazz vocalist, has recently embarked on a career that embraces the fantastical and the folkloric. Her latest album, “Ghost Song,” released in 2022, takes influences from the likes of Kurt Weill, Kate Bush, and her personal diaries, weaving them through a whimsical and slightly distorted filter. Her most recent release, “Mélusine,” continues this exploration by incorporating occult themes, the music of 17th-century composer Michel Lambert, and wiggly analogue synths. The album is accompanied by trippy animated videos that bring Salvant’s own designs to life as charming cartoons, thanks to the artistic talents of Amanda Bonaiuto.
One of Salvant’s most notable achievements is her 90-minute song cycle titled “Ogresse,” which had its UK premiere at the Edinburgh International Festival. This ambitious work showcases Salvant’s extraordinary curiosity and artistic vision. She not only composed the music but also wrote the libretto, which unfolds as a mythical fairytale about a monster who is seduced by a man from her town with the intent of killing her. Despite her initial skepticism, the monster eventually falls for the man. However, the story takes a dark turn as she poisons and eats him, resulting in the deaths of both characters. Salvant’s delivery of the narrative is wide-eyed and light-hearted, which makes the moments of seriousness even more profound. A particularly moving moment occurs when she turns her back on the audience, and the ensemble builds tension through funeral-like improvisation.
“Ogresse” takes the listener on a journey through various jazz-adjacent styles, skillfully woven together by Salvant’s poetic and fluid approach. Accompanied by musicians like Brandon Seabrook on banjo and Yasushi Nakamura on bass, the piece is accompanied by a unique blend of instruments. Josh Roseman switches seamlessly between trombone and tuba, Tom Christensen adds oboe and cor anglais to his sax duties, and Helen Sung plays melodica and pipe organ alongside the piano. Despite the strength of the band, the ensemble playing remains understated, emphasizing selflessness and a dedication to serving the larger musical vision, as emphasized by conductor and arranger Darcy James Argue’s inventive arrangements.
Not only an extraordinary vocalist, but Salvant is also an artist who operates on her own level. She designed the programs, the flowery interior of the theater, and had a hand in the visuals of the show, which are simple yet interesting and distinctively hers. Her carefully chosen clothing, such as a sparkly headdress made of leaves and a dark gold dress with embroidered snakes, adds another layer of subtle storytelling. The performance of “Ogresse” avoids the histrionics often associated with gruesome folk stories, resulting in a more focused and nuanced experience. Salvant showcases her versatility by switching tonal colors to depict the various characters and emotions in the plot. Overall, “Ogresse” is a remarkable composition brought to life through a complete and captivating performance by Cécile McLorin Salvant.
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