RICHARD TUCKER GALA

Michael Fabiano, Ermonela Jaho, Angel Blue, Stephen Costello, Artur Rucinski, Lisette Oropesa, Maestro James Gaffigan, Ailyn Pérez, Christian Van Horn, Jamie Barton, Lucas Meachem, Brian Michael Moore, and Corrie Stallings.
(photo by Dario Acosta)

Last Sunday saw the gathering of the tribe, denizens of what Fred Plotkin so aptly dubbed "Planet Opera", for the annual celebration of the Richard Tucker Music Foundation, famed for forty years of aiding the careers of worthy young singers. The list of their award recipients looks like the Who's Who of Opera.

This year's award recipient was the stupendous soprano Lisette Oropesa who bedazzled the audience twice--once with "Come dolce all'alma mia" from Rossini's Tancredi and later with "Qui la voce...Vien diletto" from Bellini's I Puritani.

What we observed about her performances were a lovely evenness throughout the register with a soaring top which lends itself perfectly to the demands of coloratura. The Rossini is replete with scales and wide skips which she negotiated effortlessly. The Bellini involved some long lines that she phrased perfectly. The legato of the aria contrasted well with the fireworks of the cabaletta. Ascending and descending scales were performed with precision.

Soprano Ailyn Pérez, an all-time favorite of ours, was called upon to tell a story in "Chi il bel sogno di Doretta" from Puccini's La Rondine--and what a storyteller she is! With consummate musicality, her phrases soared with emotional content and vocal beauty. 

Later in the program, she and baritone Lucas Meachem conspired to win the hearts of the audience with "Tu souvaint-il du lumineux voyage" from Massenet's Thaïs, with a lovely prelude from The Metropolitan Opera Orchestra, led by Maestro James Gaffigan. We couldn't keep from visualizing the ballet scene set to the Meditation from Thaïs, the melody of which has remained with us, here played by the Concert Master.

The French was excellent, the delivery passionate, the dynamics nuanced, and the climax passionate and devastating.

Soprano Angel Blue's creamy tone was just right for "Depuis le jour" from Charpentier's Louise. Her portamenti were particularly exquisite. She evinced the generous size of her instrument in a fraught duet she sang with baritone Artur Rucinski--"Udiste...mira d'acerbe lagrime" from Verdi's Il trovatore. She showed her dramatic chops as a desperate woman and Mr. Rucinski sang with power. The cabaletta was especially exciting.

Mr. Rucinski seems to be a consummate Verdi baritone, as seen in his delivery of "Il balen del suo sorriso" from the same opera. He sang with admirable phrasing, gorgeous tone, and a delicious decrescendo. This role is just about perfect for his fine technique.

Tenor Stephen Costello, whom we first heard as Lord Percy, gave an excellent interpretation of the bewitched Don Jose in "La fleur que tu m'avais jetée" from Bizet's Carmen. He sang with beautiful tenorrific tone and fine French, convincing us that he was a man possessed.

He was similarly persuasive as Lt. Pinkerton in the wedding night scene with Cio-Cio San from Puccini's Madama Butterfly. Unfortunately soprano Ermonela Jaho was anything but convincing as the doomed heroine. She has her petite stature working on her behalf but her exaggerated gestures suggested anything but a 15 year-old Japanese girl. 

We liked her much better in "Io son l'umile ancella" from Cilea's Adriana Lecouvreur in which exaggerated gestures are more suited to the stage actress she was enacting. We liked the well executed crescendo at the end.

Mezzo-soprano Jamie Barton, another favorite of ours, has a most wonderful stage presence and unique vocal texture. Her voice has not only texture but a satisfying weight without any sacrifice of flexibility. She gave us two selections from Verdi's Don Carlo. In the "Song of the Veil" we noted the echoes of major thirds and some rapid turns which put her flexibility to good use.

In "O don fatale" we perceived the change of mood and color from passionate to introspective. We love a performance that is so heartfelt!  Ms. Barton makes a splendid Princess Eboli. We might add that for the second aria she exchanged her very becoming black gown for one that made a political statement--by flashing a rainbow. The crowd loved it. See the photos on our Facebook page (Voce di Meche).

Tenor Michael Fabiano put a unique spin on "Kuda, kuda" from Tchaikovsky's Eugene Onegin. He began quietly and built in power and dynamics until the aria reached a stunning conclusion. We really enjoyed the rare quality of floating his high notes. We also noted the contributions of the orchestra, especially the wind section.

Mr. Meachem injected new life into the clichéd "Largo al Factotum" from Rossini's Il barbiere di Siviglia. He entered coming down the aisle from the rear of the hall and began at audience level, only climbing onto the stage a bit later. His gestures were unique and he colored his voice differentially when describing la donnetta and il cavaliere. What fun! In the patter part he was perfect (alliteration intended).

Introduced by resonant chimes from the percussion section, bass-baritone Christian Van Horn created a chilling and authoritarian Scarpa in the "Te Deum" from Puccini's Tosca.

The evening ended with the sextet from Donizetti's Lucia di Lammermoor in which Ms. Oropesa's Lucia was joined by Mr. Costello's Edgardo, Brian Michael Moore's Arturo, Corrie Stallings' Alisa, Mr. Rucinski's Enrico, and Scott Conner's Raimondo. Of course with all that talent onstage it was memorable.

The contributions of the Metropolitan Orchestra were immeasurable and performed with their customary excellence. We want to see more of Maestro Gaffigan whose musical stature far exceeds his physical stature.

© meche kroop

SANTA FE OPERA GETS FIGARO MARRIED OFF IN HIGH STYLE

Lisette Oropesa, Zachary Nelson, Susanna Phillips, Daniel Okulitch

--photo by Ken Howard

When the Santa Fe Opera gets it right the delight factor is a 9.9 on the Richter Scale.  Perfect casting and a fine production are responsible for the enormous success of Nozze di Figaro.  High art embellished with great entertainment values?  That's what opera should be but often isn't.  One can always tell when this magic occurs.  Members of the audience walk around with big grins during intermissions and on the way home.

In a fortuitous confluence of casting wisdom, the entire cast operated as an ensemble.  We felt as if we were visiting an aristocratic household in which the inhabitants had known each other for years and were familiar with each other's quirks.

One could not have asked for a better Figaro than fast-rising baritone Zachary Nelson who was an apprentice at SFO just last year!  His fine expressive voice is matched only by his spot-on acting choices.  "Se vuol ballare" never sounded so good; this is a lovable Figaro!  His Susana was an equally wonderful Lisette Oropesa whom we have enjoyed long before she graced the stage at The Metropolitan Opera.  Her silver soprano and the spunky character she created were a great match with her Figaro.  Her love for her husband showed through in her "Deh vieni non tardar".

Just as perfect was the pairing of lovely soprano Susanna Phillips as the neglected Countess whose "Porgi Amor" brought tears to our eyes, as did her "Dove sono".  Her Count was portrayed by the handsome Daniel Okulitch, his elegant and aristocratic appearance joining with his resonant bass-baritone to create an entitled aristocrat whom young women would not work too hard to fight off.  He excelled at demonstrating the Count's cluelessness.

Mezzo Emily Fons did a splendid job in the trouser role of Cherubino--looking amazingly like a hormonal youth and throwing herself into her "Non so piu" and "Voi che sapete" with excellent breathless phrasing that somehow managed not to lose its legato line.  Bass-baritone Dale Travis was effective as the pompous Dr. Bartolo who must go through even more changes than the Count during the course of the bridal day.  Mezzo Susanne Mentzer delighted as the snarky housekeeper Marcellina who also must make an attitudinal about-face.  Tenor Keith Jameson, who always turns in a fine performance, was true to form as the slimy Don Basilio.

Apprentice Rachel Hall was just as adorable as Barbarina should be and has a promising voice.  We hope to hear more of her.  As her bibulous father Antonio we heard apprentice Adam Lau who was so effectively made up that we didn't recognize him.  Apprentice Jonathan Winell sang the role of Don Curzio and apprentices Lindsay Russell and Samantha Korbey appeared as bridesmaids.  We just love seeing apprentices onstage!

John Nelson conducted Mozart's endlessly melodic music with appropriate elan.  Bruce Donnell directed with a sure hand.  Susanne Sheston ensured that the chorus sang beautifully.  Sets and Costumes by Paul Brown hit the mark consistently.  But whoever was responsible for Ms. Phillips' wig in Act III should be forced to wear it in public!  EWWW!

And one final quibble in a 99% wonderful production by Jonathan Kent--all that flower picking and replacing has GOT to GO.  All that stage business during the overture gives the impression that someone didn't trust the audience to enjoy Mozart's masterpiece without some eye candy.

© meche kroop