GIULIO GARI AWARDS

Le Bu, Minki Hong, Joseph Sacchi, Gabrielle Beteag, Esther Tonea, Brittany Olivia Logan,

 Fanyong Du, and Jonathan Kelly

For the past 22 years, the memory of legendary tenor Giulio Gari has been kept alive by his widow Gloria by means of a foundation established in his memory by the late Stephen DeMaio ad the great soprano Licia Albanese.  The goal of the foundation is to discover, support, and encourage young opera singers. 

After welcoming remarks from Mrs. Gari herself and Donald S. Levine (a member of the Board of Directors and co-producer of the concert), the thrilling two-hour concert was interrupted only by stirring comments by Artist Manager and Board Member Ken Benson.

Mr. Benson is well known and much appreciated for his devotion to young singers and that makes him a most valuable member of Planet Opera. We always like to hear what he has to say because we agree with his perspective!

We also enjoyed hearing from soprano and gifted teacher Catherine Malfitano who shared interesting tidbits about her career. We recalled with pleasure the many times we sat in on her classes at Manhattan School of Music, witnessing her drawing incredible performances from her undergraduate students, many of whom have gone on to fame. It is hard to believe that this is the fiftieth anniversary of her debut at The New York City Opera, which launched a world wide career!

What we would most like to dwell on, however, is the array of talent set before us. The original program was amended due to the usual occupational hazards of opera singers--illness and prior singing commitments. However, we were not at all disappointed since we got to enjoy the superlative artistry of several of this year's award winners, as well as that of prior years' award winners.

As is our wont, we are not going to tell you, Dear Reader, which singers won awards this year or prior years, or how they ranked, or how much money they received. This is surely available on the Foundation's website. Our concern is what we experienced with our own ears and eyes. We were happy to see a couple of familiar faces onstage as well as some new ones. Each and every one had something grand to offer.

It also became clear to us the importance of repertorial choice. Frequently we heard a performance that was technically perfect but, due to vocal color or some other factor, did not quite add up to the total immersion we feel when a singer's performance is so on point that the costume and scenery appear in our mind's eye and we are set down in the middle of an opera. That's magic!

For example, soprano Brittany Olivia Logan made a most believable diva in "Io son l'umile ancella" in which the anything-but-humble star of Cilea's Adriana Lecouvreur lets out all the stops. However, in spite of her flawless singing, she was less believable as the truly humble seamstress Mimi in Puccini's La Bohême. We could see her as an excellent Musetta! However, tenor Fanyong Du was totally believable as the ardent writer Rodolfo as they performed the duet "O soave fanciulla".

Similarly, soprano Esther Tonea created a strong Norma in the eponymous Bellini opera, easily conquering the master's lengthy legato lines and harmonizing beautifully with the Aldagisa of mezzo-soprano Gabrielle Beteag in the "Mira, O Norma". Her performance of Grigoriu's "Muzica" (previously unknown to us) won our heart as Jonathan Kelly's dissonant intervals of seconds took us on a Roumanian journey. However, the much loved "Letter Scene" from Tchaikovsky's Evgeny Onegin, while technically brilliant, somehow did not convince us that this was a young woman experiencing the anxiety of first love. We found our attention focusing on Jonathan Kelly's piano performance in which he beautifully limned the composer's feelings about Tatiana's youthful passion.

Although Ms. Beteag satisfied in the role of Aldagisa she best revealed the size of her voice in "Re dell'abiso affretatti", Ulrica's aria from Verdi's Ballo in Maschera. The corduroy texture  of her instrument lent menace, especially in the pianissimi and we really loved her lower register. There was something about those rolled "r"s that made our blood run cold. Ms. Beteag's performance of "Einsam wachend in der Nacht" showed a lot of potential for Wagnerian roles but it is the Ulrika that we will remember her for.

And while we are discussing Wagner, just see how Joseph Sacchi negotiated "Siegmund heiss ich und Siegmund bin ich" from Act I of Wagner's Die Walküre! We have a burgeoning heldentenor here, hampered only by his miming the removal of the sword Nothung from the tree in Hunding's hut, demonstrating to Sieglinde that he was indeed her long lost twin brother. We have no idea how one could do a better job physically but maybe just abandoning the effort?

It was a fine performance vocally, and far more interesting than the monologue from Britten's Peter Grimes.

Baritone Minki Hong succeeded in creating the character of Gérard in the ironic and heart-breaking aria "Nemico della patria" from Giordano's Andrea Chénier. We admired the lovely Italianate legato phrasing. We also enjoyed a Korean song by Kim which offered Mr. Hong the opportunity to show a sweeter coloration and dynamic variety. The song was called "A Thousand Winds" and had to do with a deceased person's spirit metamorphosed into nature.

We have already mentioned the success of Mr. Du as Rodolfo and we also enjoyed his aria from Gounod's Les Pêcheurs des Perles--"Je cross entendre encore". He exhibited a full tone, a fine vibrato, and exquisite dynamic control. We do love a gradually spun out decrescendo!

There was more Gounod to close the program with Ms.Logan, Mr. Du, and the sensational bass-baritone Le Bu creating the trio finale from Faust--"Ange pure, Ange radieux".

The thrill of witnessing young artists from their conservatory days to their fame on world stages is something that we cherish. Bravissimi tutti!

© meche kroop

 

GIULIO GARI FOUNDATION WINNERS CONCERT

Joseph Sacchi, Younggwang Park, Chelsea Lehnea, Amanda Batista, Le Bu, Chanae Curtis, Spencer Reichman, Key'mon Murrah, Mary Pinto, and Ken Benson 

For over two decades, Gloria Gari has honored the memory of her late husband Giulio Gari with a foundation that supports young singers--in much the same fashion as the late Nora London did for George London. What better way to honor the memory than by passing the torch.

The list of finalists for this year's competition reads like a roll call of the most promising young singers around and the winners have all been seen and heard at our major conservatories and young artist programs around the country. We were thrilled to witness Maestro Eve Queler, founder of Opera Orchestra of New York, receiving an award for her immeasurable contributions to the field of opera. 

After a warm welcome from Mrs. Gari herself, and some introductory comments by Linda Kundell, the charming Ken Benson took over the hosting duties and Mary Pinto took over as accompanist for the afternoon. The talented Ms. Pinto seems to be able to play just about anything and always went above and beyond to support the young singers on the program.

A couple of the winners on the program were more well known to us than the others so let us begin with them. Bass-Baritone Le Bu astonished us with a riveting performance of the hateful Philippe II of Spain in "Elle ne m'aime pas" from Verdi's Don Carlo. The King is hateful because he stole his son's intended bride and then consigned his son to death.  However in this aria, Mr. Bu showed us the lonely and disappointed old man and got us to feel sympathetic! And that's the artistry that astonished us. And he did so in perfect French.

When a singer's technique is this secure he can disappear into a character and take us to new places. He also sang the aria of a very different father. Senta's father Daland sings "Mogst du mein kind" with enthusiasm and it was great to hear Mr. Bu portray a very different character. Every facial expression and gesture had meaning; nothing was generic. The German was flawless and the characterization utterly compelling.

Chelsea Lehnea is known to us since winning the Premiere Opera Foundation Competition and through a starring role with Teatro Nuovo. She knows how to chew the scenery, so to speak, and, like Mr. Bu, creates characters from whom one cannot turn away. In Donizetti's Lucia di Lammermoor, the eponymous Lucia must, in her Act I aria, give a foreshadowing of her ultimate madness. She is clearly hallucinating and must get the audience to see visions through her eyes. This was thrillingly accomplished by Ms. Lehnea through vocal fireworks known as fioritura, so well composed by Donizetti.  All one needs is a stellar coloratura soprano to bring those notes to life and this we got in spades.

Not everyone appreciates the Countertenor fach as much as we do but there was no shortage of applause for Key'mon Murrah who performed "Ah quel giorno ognor rammento" from Rossini's Semiramide. He has a big bright top and was undaunted by the runs, jumps, and trills. The familiar "Parto, parto, ma tu ben mio" from Mozart's La Clemenza di Tito was similarly satisfying.

Bel canto was well represented on the program and Younggwang Park's booming bass was well suited to "Vi ravviso" from Bellini's I Puritani and "Song of the Viking Guest" from Rimsky-Korsakov's Sadko. The voice is substantial, especially in the lower register, and his embouchure permitted vowels that were clear and well matched ensuring a lovely legato in the Bellini. We hope to see him loosen up in his body to match the expressiveness in his voice.

In Mozart's Don Giovanni, Donna Anna must convince the importuning Don Ottavio that she really does love him in "Non mi dir". Chanae Curtis used her bright resonant soprano to convey emotion and let us realize from what source the bel canto composers drew their bags of tricks. This was Mozart laying the groundwork. Showing her versatility, she also performed the "Ave Maria" from Verdi's Otello, showing off the quiet legato of the lines, portraying an innocent woman facing death at the hands of an unreasonably jealous husband.

Speaking of jealous husbands, we enjoyed baritone Spencer Reichman's performance of "E sogno, o realta?" from Verdi's Falstaff. Mr. Reichman did a fine job of using the consonants effectively to convey Ford's jealous rage.

Joseph Saachi's powerful tenor was just right for "Durch die Walder" from Von 

Weber's Der Freischutz. We liked the texture of his voice and the way the aria grew in intensity. We got to hear him again in a duet with soprano Amanda Batista when they performed a happier scene from Otello--"Gia nella notte densa". We enjoyed this duet vocally but we wished for more interaction between Otello and Desdemona.

We enjoyed Ms. Batista singing "Donde estas Cristobal?" from Daniel Catán's Florencia en el Amazonas, one of the few contemporary operas that we enjoyed, having seen it some years ago during New York City Opera's heyday. Spanish sings so beautifully and Ms. Batista surely did it justice.

The concert was followed by a buffet dinner at which the singers and the guests mingled and each table had enthusiastic conversation about the performances. It is this interaction that keeps opera alive!

© meche kroop

OPERA INDEX HONORS JAMES MORRIS

Last night at the Metropolitan Club, Opera Index honored legendary bass-baritone James Morris with a Lifetime Achievement Award--and who would deserve this more than the only Wotan in our memory who showed us the complexities of this character as we needed to see them. Of course, Mr. Morris' biography is an impressive and lengthy one but that is how we wish to remember him. Mr. Morris' "third act" is coaching young artists and we can tell you, Dear Reader, how many young artists have shared with us the incredible value received from his tutelage.

The evening was led by Opera Index President Jane Shaulis who herself had a legendary career and who now does so much to benefit young artists. Speeches were given, toasts were raised, and the room rang with applause. After the lengthy Covid related "intermission" this was a golden opportunity for a gathering of the tribe and we were overjoyed to see so many familiar faces. But let's get to the stellar entertainment!

Donghoon Kang, Moises Salazar, Chuanyuan Liu, Vladyslav Buialskyi, Siphokazi Molteno, and Le Bu

From among 350 applicants for the Opera Index awards, 29 finalists were chosen, and 19 winners received $74,500. in prize money provided by foundations and individually sponsored awards. We can only imagine the tough job tackled by the judges to narrow down such a wealth of talent. Guests at the gala were privileged to hear eight of the winners and thankfully, dinner was not served until after the performances. To tell the truth, we felt so satisfied by the entertainment we experienced no need for food. Maybe we should share this information with those who are trying to lose weight. Feed the ears!  Feed the soul!  Not the belly.

Opening the program was magnificent mezzo Maggie Renée who moved around the audience seducing us with a spirited  "Seguidilla" from Bizet's Carmen. It is quite a special gift to combine a rich mezzo tone with technical aplomb and firm dramatic instincts! 

Ms. Renée was not the only artist to use the entire space of the room. Ukrainian bass-baritone Vladyslav Buialskyi achieved dramatic realism in his valid portrayal of Figaro in Mozart's Nozze di Figaro, as he opens the fourth wall and addresses the audience in "Aprite un po' quegli occhi". With superb vocalism he created a character in such a sure manner that the entire scene came to mind.

It was surely a night for the bass-baritone and it came as no surprise to learn that Le Bu studies with Mr. Morris. Winner of countless awards, Mr. Bu is firmly stage ready and can look forward to inheriting Mr. Morris' roles. Tackling the moving expression of Procido's patriotism in "O tu Palermo" from Verdi's I vespri siciliani, he got everything right--a stellar performance in every respect. 

Since we are now in the midst of celebrating the Lunar New Year, it gave us pleasure to have three Asian artists on the program--and all from different fachs. Chinese countertenor Chuanyuan Liu brought out every subtlety of the fioritura in "Si, la voglio e la ottero" from Händel's Serse. The plot is as elaborate as the fioritura but, truth to tell, we appreciate the latter more than the former, especially when delivered with pinpoint accuracy and fine flexibility as it was by Mr. Liu. What would countertenors do, were it not for Händel and his crazy plots!

We heard more French from South Korean baritone Donghoon Kang who performed "Riez! Allez! Riez du pauvre ideologue" in which Sancho Panza defends his poor confused master in Massenet's Don Quichotte. Mr. Kang effectively employed variation in dynamics and expansive expression to achieve emotional impact--another fine performance. 

Yet another admirable actor took the stage in the "Chanson de Kleinzach" from Offenbach's Les Contes d'Hoffman.  Mexican tenor Moises Salazar is quite the storyteller and held us as spellbound as the character does to his audience in the opera. He colored every phrase with such dramatic interest that we almost missed noting the superb vocal qualities of his artistry.

The beautifully textured vocal quality of South African mezzo-soprano Siphokazi Molteno was also accompanied by firm dramatic intent as she portrayed the seductive Dalila in Camille Saint-Saëns'  Samson et Dalila. We have often heard "Mon coeur s'ouvre à ta voix" and indeed, it was our introduction to the Metropolitan Opera with Marilyn Horne as the doomed gypsy. It would be fair to say that in between that performance and Ms. Molteno's we have not enjoyed it as much.

We hear less French opera than we do Italian and were delighted to hear tenor Philippe L'Esperance perform Faust's serenade to Marguerite from Gounod's eponymous opera. Between Ms. Renée, Ms. Molteno, and Mr. L'Esperance we heard a lot of seduction in one night. Mr. L'Esperance's sweet tenor was well employed with some fine phrasing and Gallic style.

We did not get to hear all of the Opera Index winners but we are quite sure that the quality was equivalent. Young talent deserves our backing as well as our appreciation.  We hail the stars of tomorrow!

© meche kroop