Artists share the secret to what makes each of their partnerships so successful, and give us one word to describe their pairing.

By Angelina Josephine Rosete, Cal Performances’ Engagement Writer

Recital partnerships occupy a unique space in classical music; they rely on a deeply personal, negotiated relationship between two artists, unlike larger staged productions where roles and responsibilities are often more clearly defined. What audiences witness onstage is the product of conversation, study, mutual trust, and artistic curiosity.

For many of this season’s Cal Performances recitalists, these partnerships began long before the first downbeat. They grew out of shared values, mutual admiration, and an intuitive sense that their counterpart could illuminate something new within the music. Their reflections offer insight into how collaboration evolves, how performers listen, and how—in the best partnerships—each artist expands the expressive possibilities of the other.

When mezzo-soprano Samantha Hankey and pianist Myra Huang met at the 2018 Operalia Competition, the environment was high-pressure; yet, they found an immediate artistic kinship. Hankey recalls, “Myra is an incredibly sensitive pianist, and I felt so much support from her, both while she was playing and when she wasn’t. We immediately formed this really strong connection and appreciation for performing with one another, even in a high-stress competition setting.”

Years later, when Huang proposed performing Dichterliebe from a female perspective, Hankey says she “had to say yes for the opportunity to work together again on such an interesting project.” On working together, Huang shares that “When [Sam] is committed, she is committed. To me, that is priceless.”

Their rehearsals, often limited by distance between different cities, are marked by a careful preparation and a sense of safety with one another. Hankey explains, “We do so much prep work on our own… when we do get to be together, we actually can have fun, explore, and truly discover. It comes from a very safe place, and with an enormous sense of trust and respect in one another.” Onstage, this partnership transforms, as both artists respond to each other and to the audience in real time. Huang notes, “Sam and I are instinctive performers, so that no matter how much musicality we bring to our rehearsals, we definitely surpass it once we get on stage. We both tune into the energy of the room and one another, and give all that we have in that moment.”

Hankey sums up their collaboration in one word: “Supportive. I feel like I get to support Myra and her vision with this tremendous program, and she supports me in turn.”

Bay Area audiences can experience Huang playing alongside mezzo-soprano Samantha Hankey in her Cal Performances debut on Jan 18. The two will collaborate on an inviting program that combines Robert Schumann’s aforementioned Dichterliebe song cycle with cabaret songs, lieder, and popular favorites sung in English, French, and German.

For violinist Geneva Lewis and pianist Evren Ozel, their partnership stretches all the way back to high school, when a shared piano trio first revealed their compatibility. Lewis recalls, “I instantly loved working with him, and I found myself really drawn to the care and effort he puts into his music, as well as his incredible sensitivity and convincing musical ideas.” In turn, Ozel recalls, “Even as high-schoolers, Geneva had this mix of generosity and fearlessness—she could lead with real expressive clarity, but she could just as easily lock in and respond.”

Their rehearsals, though often sporadic due to busy schedules and being in different cities, are both concentrated and lighthearted. Lewis shares, “We both feel comfortable sharing our musical ideas with one another and are very open to the other’s suggestions… The process is usually very relaxed, and filled with lots of jokes.” Ozel adds, “Rehearsals are concentrated and a little high-pressure; we’re both exacting, and time is limited. Performance is the release. Once we’re onstage, the preparation carries the structure, and we can actually breathe, listen, and enjoy the ride.”

In both rehearsal and performance, the duo balances their musical precision with their emotional instincts. Lewis describes their partnership in one word: “Natural. There’s a strong level of trust and understanding between us, and it has primarily formed on an intuitive level.”

Join award-winning violinist Geneva Lewis in her Cal Performances debut, joined by celebrated pianist Evren Ozel on Mar 1. Together, they present a striking program featuring a lean late-period masterpiece by Schoenberg, Bach’s E major violin sonata, Schubert’s deeply conversational Fantasy in C major, and Robert Schumann’s Violin Sonata No. 3.

World-renowned singer Renée Fleming and acclaimed pianist Inon Barnatan’s partnership began almost serendipitously; it was first on a flight to the Aspen Music Festival, where, as Fleming recalls, they were “buried in [their] scores,” yet still found themselves deep in conversation. Later that same day during a fire alarm evacuation, she introduced him to Ruth Bader Ginsburg—whom Inon had been wanting to meet—moments before their performances. Barnatan still remembers the surprise of that meeting and the even greater surprise that followed: Fleming casually asking if he might like to perform with her at Carnegie Hall that fall, a beginning he describes as “unexpected—and memorable.”

Their working relationship since has been shaped by meticulous preparation and an intuitive musical dialogue. Fleming speaks of rehearsals as a space for discovery built on “enormous, detailed preparation beforehand,” while Barnatan describes their process as “more like conversations than directives,” marked by her openness and deep familiarity with both her own part and with his. On translating these rehearsals to live performance, Barnatan remarks, “Rehearsals usually happen in small, intimate rooms, while performances are in large halls filled with hundreds or thousands of people. The sense of scale changes everything—the projection, the energy, the theatricality. But even in big spaces, we try to carry that feeling of intimacy onto a much larger canvas.”

Across these different spaces, they continue to challenge and expand one another artistically: Fleming admires Barnatan’s wide-ranging intellect and the “dialogue” it brings to their performances, and Barnatan shares that “Instrumentalists are always aspiring to sound like singers, and working with Renée is a masterclass in that ideal.”

Asked to choose a single word to describe their collaboration, Fleming offers “exciting” and Barnatan “inspiring”—two perspectives that together capture the generosity and sense of possibility that defines their partnership.

Come see legendary soprano Renée Fleming for an extraordinary recital alongside acclaimed pianist Inon Barnatan on Mar 16. The pair will share an inspired program of beloved songs, arias, and dazzling piano showpieces, offering audiences an incredible opportunity to experience one of the most celebrated voices of our time up close.

So, what makes a partnership endure? Across these duos, certain qualities recur: trust, curiosity, flexibility, and a willingness to take artistic risks. Each partnership demonstrates that collaboration is all about harnessing their differences into something more powerful—pushing each other to listen more carefully, respond more thoughtfully, and expand the expressive possibilities of the music. These recitals act as evolving conversations intertwined with displays of technical mastery; they are moments in which two artists create together, challenge each other, and invite audiences into the shared process. The stage for each artistic duo demands an unusual intimacy—two artists, shaping a shared narrative in real time. In every note and in every gesture, the audience can experience a dialogue that is equal parts precision and spontaneity, planning and discovery—a testament to the enduring power of musical partnership.