Those who attended Oberlin Conservatory faculty member Kathleen Chastain’s flute recital last Wednesday night expecting typical, pretty, fluffy-sounding flute playing were either sadly mistaken or pleasantly surprised. However, there were probably few attendees in this category; the tiny but admiring audience was comprised almost entirely of flute students. Those in the Oberlin community are already familiar with Chastain’s playing, which is characterized by electrifying virtuosity and an intensely personal sound. She is anything but an ordinary flautist, and this was anything but an ordinary flute recital.

The main attraction on the program was Claude Debussy’s Les Chansons de Bilitis. Chastain, accompanied by guest pianist Laurent Boukobza, performed the version for flute, piano and recitation with the help of fellow flute professor Michel Debost. This piece is performed far less often than it deserves, particularly in the version that includes narration. The work alternates between short evocative segments of Debussy’s music and poetry by Pierre Louys. Debussy is the master of musical sensuality; his uniquely passionate musical language allows him to mimic perfectly the joyous tenderness of Louys’ poems.

Chastain, Boukobza and Debost delivered an extremely relaxed yet moving rendition of this surprisingly fast-paced piece. The atmosphere was unusually laid-back. At one point Debost “interrupted” Chastain by beginning a recitation while she was still playing. Unfazed, he simply apologized in French and stepped back to let her finish. In a more formal concert venue this might have detracted from the music, but in this setting, the lack of formality was rather touching. All three performers did an excellent job of bringing out the distinct character of each short movement. Their performance was a delight to hear.

The other highlight of the program was Andre Jolivet’s Chant de Linos. This is one of the most technically demanding pieces in the flute repertoire, but Chastain performed it effortlessly. Every blisteringly fast run was flawlessly executed and impeccably phrased, while the slower passages demonstrated her extraordinarily solid and warm tone in the lower register of the flute. Boukobza also brought great energy to the performance with his spirited interpretation of the piano part. Jolivet’s work itself is engaging and at times exhilarating. It draws upon perceptions of Greek antiquity for inspiration, with modal and rhythmic passages reminiscent of Stravinsky’s Rite of Spring.

Wednesday’s recital proved beyond a doubt that Kathleen Chastain is one of the gems of the Oberlin Conservatory faculty, albeit one undiscovered by the general campus population. Her ability to deliver exciting, moving and dynamic performances has stood the test of time. Hopefully, the wider Oberlin community will become familiar with Chastain as well.