MORE GRIST

Brandie Sutton and Reri Grist 

Marisan Corsino and Reri Grist

Renowned soprano and esteemed teacher Reri Grist was introduced by Martina Arroyo as a friend of fifty years duration, an announcement that evoked torrents of applause from the audience-- eager to hear the divine Ms. Grist coach young singers--part of the Prelude to Performance program.

We have previously noted that each master teacher seems to focus on one thing above all others and Ms. Grist's focus was largely on a forward sound placement. Each of the four students in her master class benefited by bringing the voice up and forward and out of the throat. This was particularly valuable in descending vocal lines.

If you love Puccini's Madama Butterfly as much as we do, you will not want to miss soprano Brandie Sutton's performance as Cio-Cio San on July 9th and 11th at Hunter College. Her glorious instrument soared in the final act aria "Che tua madre" and needed only a few hints from Ms. Grist--hints that made all the difference. In this case, Ms. Grist asked Ms. Sutton to use the initial consonant to help project the "ah" sound into the mask, achieving a rounder sound. A gentle boost from the diaphragm was also helpful.

Donizetti's Fille du Regiment will be performed on July 10th and 12th (matinée) and soprano Claire Coolen will be covering the role of Marie.  We never wish ill on a performer but if Ms. Coolen manages to sing one of the performances we would be thrilled to hear her. She sang "Chacun le sait" with panache and spunk and brilliant tone.  She was coached to take her time between phrases. 

Tenor Jon Jurgens gave full voice to "Addio fiorito asil", Lt. Pinkerton's final act aria from Madama Butterfly, a role he is covering.  He was coached to "cool it" in Ms. Grist's well-chosen phrase--to save his voice and not push.  Our own thoughts were along the same lines. We wanted him to start more gently and build to a climax when he realizes how vilely he has behaved toward Butterfly. Using his diaphragm helped him to get up and out of his throat.

Mezzo-soprano Marisan Corsino, the Suzuki cover, sang "Una voce poco fa" from Rossini's Il barbiere di Siviglia. At first, she delivered it to the audience and Ms. Grist coached her to pretend she was singing it to her image in the mirror, which made a world of difference. Moving around the stage also helped to eliminate the presentational quality. Another great suggestion was to achieve more variety when a phrase is repeated several times. A bit of playfulness with the rhythm added still more to the performance.

Soprano Maria Brea, who is cast as Marie on July 10th and 12th sang "Par le rang et par l'opulence" from Act II of Fille du Regiment. Ms. Grist worked with her on character interpretation and when the aria was performed with purity and simplicity it became not just a beautiful tone but a meaningful portrayal.

Tenor Alexander Wook Lee, who will be singing Goro in Madama Butterfly, did not need any help in the acting department. He sang Beppe's serenade (as Arlecchino) to Nedda (as Columbina) from Leoncavallo's Pagliacci, with an abundance of humor and personality. He received good coaching from Ms. Grist on increasing his support on the high notes, getting the song up and out of his throat. The tips on vowel modification were also helpful.

Ms. Grist taught with warmth, generosity, and humor. Accompanist Ed Bak did the usual fine job of supporting each singer. We noticed he has a special affinity for Puccini.

The prolonged period of individualized and group coaching ensures that the performances of these two beloved operas are guaranteed to delight the audience as they do every summer. We urge you to get your tickets quickly before they are all gone.

(c) meche kroop

LOVELY LAKMÉ

Gyu-Yeon Shim and Alexander Wook Lee

Léo Delibes' 1883 opera Lakmé has some marvelous music but is rarely performed. We were delighted that Conductor Thomas Muraco chose it for his final offering of the season at Manhattan School of Music. The libretto by Edmond Gondinet and Philippe Gille can be seen as another opera about a woman who commits suicide after being seduced and abandoned; it can be seen as an entry in the late 19th c. popularity contest of exotic tales of the Orient; it could also make perfect sense as a cautionary warning against intercultural romance or against colonialism. (Think Madama Butterfly.)  Last night we saw it as a vehicle for a star coloratura.

Gyu-Yeon Shim is just such a star. With a voice as exquisite as her face and form, she flawlessly performed the titular role; she was utterly convincing as an innocent maiden exposed to the romantic notions of an English soldier. The role pushed her voice up into the stratosphere without any appearance of effort. She was outstanding in her duet with her servant Mallika (the fine mezzo-soprano Talin Nalbandian), a duet most of us have heard countless times--"Sous le dôme épais".

The Bell Song, "L'air des clochettes" in Act II  is an aria her father the Hindu priest Nilakantha (the excellent bass Juan Daniel Melo) forces her to sing in order to draw out the British soldier who has desecrated their temple. Not only did she entrance Gérald but the entire audience! Her voice is well focused with a pleasant vibrato. And a trill to thrill.

Gérald was excellently portrayed by tenor Alexander Wook Lee who was, unfortunately indisposed but doing his best to "soldier" on. We will be happy to hear him as Goro in Madama Butterfly with Martina Arroyo's Prelude to Performance this July and to learn how he sounds when well.

Gérard is affianced and his infatuation with the lovely Lakmé sweeps him off his feet. His comrade Frédéric is the voice of reason, warning him not to enter the temple grounds and later persuading him to return to his regiment. Baritone Suk Bae Kim was excellent in the role with a nice full sound.

His fiancée Ellen was portrayed by soprano Anna Mayo and her sister Rose by soprano Jeanne Gérard. The roles were small but the impression the two sopranos made was large. We look forward to hearing more of their lovely voices. Their governess Mistress Bentson was sung by the versatile Ms. Nalbandian. The trio of ladies served to limn the cluelessness of the English colonizing India during the Raj.

Tenor James Ludlum filled the role of Hadji, Nilakantha's servant, who is instrumental in moving the plot along. He helps Lakmé rescue Gérard after the latter is stabbed by Nilakantha. Lakmé restores his health but he decides to return to his military duties and she reacts by killing herself.  Is there any other instance in the operatic repertoire of death by poisoned flower?

Not only was the singing delicious but the two pianos (Jeremy Chen and Dura Jun) teased our ears with one miraculous melody after another, offering ample opportunity to focus on them during the prelude and the intermezzi. The entire affair was conducted lovingly by Maestro Thomas Muraco who, along with Elsa Quéron, coached the French diction.

There will be one more performance Sunday evening at 7:30 with a completely different cast. Were we free we would happily hear it again. Don't miss this rare opportunity!

(c) meche kroop