OPERA INDEX HONORS MATTHEW POLENZANI

 Tenor Matthew Polenzani

It is surely a capstone of one's career to be publicly honored with an award, especially one from Opera Index. It is perhaps a more private honor to witness the next generation of singers, knowing how many have learned from you, directly or indirectly. Mr. Polenzani, a much loved tenor, is at the peak of his brilliant career and his gracious unassuming manner must be an inspiration to upcoming opera singers.

The occasion was last night's Opera Index Gala, at which event the denizens of Planet Opera gather every year to honor a distinguished artist and to celebrate the prizewinners of their competition. Unlike open competitions at which observers form their own opinions and argue the merits of their favorite singers, Opera Index's competition takes place behind closed doors. 

We think it fair to say that this year's winners were well selected from among 400 applicants and are totally deserving of their awards. Singers are notoriously financially strapped, what with the cost of lessons, tuition, coaching and such. Those donating funds to Opera Index can be confident that their funding goes a long way toward helping these young artists to achieve their goals.

We heard seven promising young artists artists last night, all outstanding in their own way. Piano support was provided by the well known collaborative pianist Kamal Khan who slides gracefully from one period of music to the next. A warm welcome by Opera Index President Jane Shaulis, who put together a most satisfying. evening, was warmly received. Let us tell you about it without reference to the size of  each individual's award, as is our wont.

The program opened with baritone Ben Reisinger performing everyone's favorite drinking song "O vin, dissippe la tristesse" from Thomas' Hamlet. Glass in hand, he illustrated the character's exuberance with a lovely resonant texture, fine phrasing and sufficient variety of tempi  to hold our interest. We love the way his voice opens up at the upper end  of the register.

Following, we heard the adorable soprano Sofia Gotch singing "Je veux vivre" from Gounod's Romeo et Juliette. She conveyed all the breathless enthusiasm (which takes enormous breath control) of a young woman bursting with life. She paced the aria well and evinced bright clean top notes. There were some trills that gave us thrills and chills! The command of the French style and diction were remarkable.

Tenor Travon Walker began his performance seated on the edge of the stage, accurately reflecting the despair of young Sam in "Lonely House" from Kurt Weill's 20th c. opera Street Scene. Mr. Walker, having established the mood of his character, proceeded to get up and walk around, delivering his aria with fine technique and (gasp) understandable English. We enjoyed the way he used dynamic variation and felt emotionally affected--a good thing.

It is quite a challenge for any young singer to portray an older person but bass Younggwang Park achieved it in his performance of "Vi ravisso", Count Rodolfo's nostalgic aria from Bellini's La sonnambula. We sensed a connection with the depth of the character as much as we perceived the depth of tone. As is common in Bellini's writing, the demands on the singer are vocally great, especially in terms of the breath control needed for his long lyric phrases. Mr. Park handled it deftly, especially in the runs.

Soprano Luna Seongeun Park (no relation) gave a spirited performance of "Chacun le sait", the regimental song from Donizetti's La fille du regiment in which Marie, the titular character, expresses her pride in the regiment that has raised her. We observed a consistency through the registers, culminating in a pure tone at the top. We liked the smoothness in negotiating the portamenti.

Bass-baritone Byeongmin Gil proved himself to be a forceful interpreter of Procido's joy at returning to his beloved homeland after a period of exile in "O tu Palermo" from Verdi's I vespri Siciliani. Variety in dynamics and a keen sense of pacing did justice to this showpiece. The texture of Gil's voice created a sound that was sufficiently mature.

Closing the musical portion of the evening was Yeongtaek Yang's impassioned delivery of "Nemico della patria" from Giordano's Andrea Chenier. He effectively portrayed Gérard's cold calculating nature as he lists the accusations toward Chenier, accusations that he may not truly believe. The sound was full and the menace was palpable.  Mr. Yang built the emotion to an intense crescendo at the end.

This fulfilling program was followed by the award ceremony and dinner. This was indeed a memorable night! We might close by urging you to join Opera Index in supporting these gifted young artists. The membership fee is extremely modest.

© meche kroop

MATTHEW POLENZANI WAS VERY PRESENT AT ZANKEL HALL--but the farm boy disappeared.

Kathleen O'Mara, Marie Engle, Megan Esther Grey, Jennifer Johnson Cano, and Matthew Polenzani

Julius Drake and Matthew Polenzani

Matthew Polenzani is a beloved tenor, well known to those who frequent The Metropolitan Opera. Perhaps there is no tenor in his generation who can fill the Metropolitan Opera with so much beautiful sound. But do all of our readers know what a superb recitalist he is?

It is a special thrill to experience his artistry in a smaller house.  It has been four years since we heard his recital at Alice Tully Hall and six years since his recital at the Morgan Library as part of the George London Foundation recital series--a return which celebrated his 1998 award.

Yesterday's recital at Zankel Hall was even more intimate and we appreciated 

Mr. Polenzani's generous Italianate tone in both German and Czech; it is replete with resonance and his diction, thankfully, makes every word count. Still, the house lights were kept at a level that permitted those who do not understand foreign languages to read the translations.

The sound is huge and operatic when passionate intensity is called for-- but our preference was for the tender passages in which he mined great depth of feeling at even the most pianissimo level of dynamics.

Accompanied by the fine pianist Julius Drake, he opened his program with a half dozen Schubert lieder. He and Mr. Drake make a fine partnership since Mr. Drake's sensitive playing is never short of supportive. In the slow and melancholy "Nachtstück", the old man's harp was recreated by Mr. Drake's delicate arpeggi; Mr. Polenzani colored every word for maximum meaning.

In "Im Frühling", our personal favorite, the singer waxes nostalgic for happier days and Mr. Polenzani trailed off in a delicate decrescendo at the end. Schubert's brief interpolation of the minor key was well negotiated for maximum emotional effect. "Der Einsame" is a song of contentment and we have always called it "the cricket song" since the pianist gets to simulate their sound.

We haven't heard "Ständchen" so tenderly performed since we heard Paul Appleby sing it in Santa Fe. What an affecting performance with the tenderness yielding to passionate intensity!

Beethoven's song cycle An die ferne Geliebte is marked by a smooth segué between songs, creating a sustained mood. Alois Jeitteles' text uses imagery taken from the natural world to express longing for the beloved. Our favorite part is in "Wo die Berge so blau" when the piano echoes the unforgettable downward scale passage "Schauen herein" as it does in the subsequent "Möchte ich sein" and "Innere Pein" (now in a minor key) and "Ewiglich sein". That motif pulls on the heart as only Beethoven's can do.

The bittersweet "Es kehret der Maien" opens with a lilting piano that shows us an aural picture of birds and babbling brooks. The cheerful mood dissipates in the last two verses but acceptance is achieved in the final song "Nimm sie hin denn, diese Lieder". That sounds like a good life lesson; when you can't fulfill your longings, accept it gracefully.

Of Brahms' Zigeunerlieder, beautifully sung by mezzo-soprano Jennifer Johnson Cano, our favorite was "Brauner Bursche fürht zum Tanze" with its spirited rhythm. This took Ms. Johnson Cano into some lower register territory which she negotiated without strain. Her performances always delight us.

The second half of the program was devoted to Leoś Janáček's song cycle The Diary of One Who Disappeared. There is an interesting story about the text by Josef Kalda; in an elaborate hoax, which will resonate to those of our generation, the work was presented in 1916 in a Brno newspapers as "From the Pen of a Self-Taught Peasant", claimed to have been written by a farmboy who had mysteriously disappeared, leaving behind a story of having been seduced by a gypsy girl who bore his child, and then running off with her and her gypsy family.

This is not so different from "Songs of Bilitis" which were given a false origin as well.  And what about films that are purported to be "found footage"? Today we are accustomed to such pranks but we wonder if people of a century ago would have been enraged over the deception. Fortunately, they never found out because the hoax went unrevealed until 1998!

In any case, the work is an interesting one and Janáček's passionate outpouring of music expressed his unfulfilled longing for a much younger married woman. Czech is such a difficult language and it is impressive how well the composer matches its rhythms in his music. We notice that the lines of text are short. 

The story is an appealing one and filled with detail of farm life, such as fashioning a new shaft for a broken plow. There are also plenty of details about the seductive gypsy girl with her black hair and white breasts. The poor farm boy is driven mad with desire and post-coital regret, with the sexual congress depicted in a piano solo. This allowed Mr. Drake to let out all the stops!

Music stands were used and, in this case, we can understand and tolerate their presence; but we must say that the part we enjoyed the best was when Ms. Johnson Cano walked onstage to sing the part of the gypsy Zefka--off the book! And she sang the hell out of it!

Contributing to the texture of the music was a chorus of three women who sang from the balcony--soprano Kathleen O'Mara and mezzo-sopranos Marie Engle and Megan Esther Grey. They sounded like a choir of angels!

This was interesting music, filled with pungent harmonies and wild rhythms. We don't know if we will ever get to hear it again but are very glad to have experienced it once.

As usual, the audience rose to its collective feet and showered the artists with accolades. Mr. Polenzani pointed out that the final work was a "tough act to follow" but he nonetheless rewarded his fans with a heartfelt delivery of "Danny Boy".

(c) meche kroop

OUR HEARTS ILLUMINATED!

 "The Illuminated Heart"--Selections from Mozart's opera performed at the 50th Anniversary of Mostly Mozart

Not even the rainy weather could dampen the spirits of the glittery members of the sell-out crowd gathered to celebrate the opening-night program of Mostly Mozart, Manhattan's yearly summertime orgy of music-making.  It was an auspicious beginning with a veritable cornucopia of talent onstage and a conducting genius in the pit.

Maestro Louis Langrée got the evening off to a rousing start with the lively overture to Le nozze di Figaro, inarguably one of Mozart's best operas, although even his less wonderful offerings will never be neglected. Onstage, we had a servant girl doing chores, tossing laundry into a basket in time with the chords--a most effective bit of stagecraft. She wiped the walls on which words were projected; as she did so the words disappeared. This was probably the finest moment for the visuals.

Mozart was a master of melody and a champion of characterization. A great artist can sing one of his arias and, in a holographic miracle, the entire opera takes shape before your very eyes. There was no shortage of great artists onstage last night.

Capturing our heart was soprano Nadine Sierra for whom we have a special fondness, having started reviewing her work when she was considered "promising". Her promise has been fulfilled. She delights the ear with her silvery soprano and involves one with the inner life of the character she portrays.

As Susanna in Le nozze di Figaro, deceitfully promising Count Almaviva her sexual favors, there was no doubt in how she felt about her employer and his unwelcome advances. When he pulled her onto his lap, you could just tell that she was physically aware of his arousal (to put it delicately). Her scene partner, baritone Peter Mattei, conveyed all the blindness and feelings of entitlement that Lorenzo Da Ponte intended in the brilliant duet "Crudel! Perchè finora".

Ms. Sierra was brilliant in every role-- but the role which totally blew us away was one we'd never heard before from an opera which Mozart never finished. We were so enthralled by "Ruhe sanft, mein holdes Leben" from Zaide that we longed to see Ms. Sierra perform the role in its entirety; we were sad to learn that only parts of it survive.  So...a superb concert piece it will remain. Ms. Sierra produced such a finely wrought decrescendo that we held our breath.

Soprano Christine Goerke blew us away in another manner.  She is a veritable force of nature and sang Elettra's aria of rage "O smania! O furie! ...D'Oreste, d'Aiace" from Idomeneo. Her steely soprano cuts through an orchestra like a knife through butter and swells to fill the farthest reaches of any theater. Her emotional commitment drags you into the aria and all its pain.

A fine showing was made by soprano Anna Maria Martinez and mezzo-soprano Daniela Mack as sisters Fiordiligi and Dorabella in Cosi fan tutte; their voices blended beautifully in Mozartean thirds in "Ah, guarda sorella" and later, with Mr. Mattei as Don Alfonso, in "Soave sia il vento".

Ms. Martinez was riveting as Donna Elvira in "In quali eccessi, o Numi...Mi tradi quell'alma ingrata" from Don Giovanni. We loved the way she colored each section differently as she went through all the emotions of a woman scorned by a man she can't stop loving.

When mezzo-soprano Marianne Crebassa sang "Parto, parto, ma tu, ben mio" from La clemenza di Tito we realized that one may readily think of it as a duet with clarinet. Jon Manasse's clarinet echoed the vocal line in such an artistic fashion we wondered why we had never heard it so clearly before. Ms. Crebassa also did credit to herself in a duet with Ms. Sierra from the same opera--"Ah perdona al primo affetto".
  
As a matter of fact, there was much in Maestro Langrées conducting that brought new clarity to old favorites.  It was also admirable the way he controlled his Mostly Mozart Festival Orchestra so that they supported each singer.  No one was drowned out.

A rewarding performance of the difficult "Dalla sua pace" from Don Giovanni was given by Matthew Polenzani; he was at the very top of his form both vocally and dramatically. The phrasing, the coloring, and the timbre joined with his tasteful gestures to create a picture of a man besotted and submissive to his adoration of the ambivalent Donna Anna.

Only baritone Christopher Maltman failed to impress with a somewhat lackluster "Champagne Aria" from Don Giovanni and a charmless "Der Vogelfänger bin ich ja" from Die Zauberflöte.

These were just the highlights of the evening which ended with the Finale of Le nozze di Figaro--bringing us back full circle.

As much as our heart was illuminated, the faces of the singers were not. We wish we could be as enthusiastic about the direction, design, and illuminations of Netia Jones or the lighting of Andrew Hill-- but we cannot.

On the positive side, there were some charming moments of direction that were dramatically valid. Projections succeeded at creating the illusion of depth in the hall's shallow stage; costumes effectively suggested 18th c. silhouettes while highlighting the cut and fabrics of contemporary times. But many of the projections were weak or non-specific, or unsupported by the story.  If mixed media is going to replace sets then it had better be more effective.

Happily, that minor disappointment did nothing to tarnish the luster of the voices. After an intermissionless 90 minutes, we left fulfilled.  But we would have gladly returned for another 90!

(c) meche kroop

POLENZANI WITH POLISH

Matthew Polenzani (photo credit -Dario Acosta)

Perhaps there is no tenor in his generation who can fill the Metropolitan Opera with so much beautiful sound.  Nonetheless it is a special thrill to experience his artistry in a smaller house.  It is over a year since we heard his recital at the Morgan Library as part of the George London Foundation recital series--a return which celebrated his 1998 award.  And this week we had the pleasure of hearing him once again, this time at Alice Tully Hall as part of the Lincoln Center Great Performers series  "The Art of the Song".

And Art it is with a capital A!  Mr. Polenzani's generous Italianate tone is replete with resonance and his diction, thankfully, makes every word count--even in French which seems to be the downfall of most American singers.  Still, the house lights were kept at a level that permitted those who do not understand foreign languages to read the translations.

The sound is huge and operatic when passionate intensity is called for-- but our preference was for the tender passages in which he mined great depth of feeling at even the most pianissimo level of dynamics.

Accompanied by the fine pianist Julius Drake, he opened the program with Beethoven's youthful masterpiece "Adelaide", in which he achieved variety in the many repeated phrases.

His set of five songs by Liszt included "Die stille Wasserrose" which we had hoped to hear him sing again, having enjoyed it so much at the George London recital.  It's just one of those memorable moments that linger and bear revisiting. To hear what he did with the word "vergehn" was to be thrilled to the very toes.  As a matter of fact, there were several instances where a single word achieved great importance, often at the climax or end of the song.  In "Wie singt die Lerche schön" the vibrato on "sonnenschein" was incredibly lovely.  In "Der Glückliche", something special was going on in "schlummernden" and "geruht".  We wondered whether anyone else felt that special feeling.

We loved the rippling arpeggios in Mr. Drake's piano in "Im Rhein, im schönen Strome".

After the Liszt songs in German, the duo moved on to four Liszt songs in French, all settings of texts by Victor Hugo.  What a gorgeous Gallic line we heard in "S'il est un charmant gazon".  In "Enfant, si j'étais roi", the sweetly imploring "Pour un regard de vous!" and "Pour un baiser de toi!" moved us deeply.  But it was "Oh! quand je dors" that held the audience spellbound, hushed and breathless until Mr. Drake ever so slowly lifted his hands from the keys.  Magic!

On a lighter note, Erik Satie's Trois mélodies injected notes of humor into the program.  The wit of "La statue de bronze" was reinforced by Mr. Drake's bouncy accompaniment and Mr. Polenzani's swallowing of the insects at the conclusion. Wisely, Mr. Polenzani explained the wordplay of "Daphénéo".  As a matter of fact, he frequently introduced his songs with small bits of information that served to engage the audience on more than one level.  

His Cinq mélodies populaires grecques were well remembered by us from his George London recital and we delighted in hearing them again.  His performance of "Quel galant!" was well served by his portrayal of a cocky fellow addressing his lady love. So much was said with vocal color and physical posture in a short minute!

We do not consider ourself fans of Samuel Barber but Mr. Polenzani sang the Hermit Songs very well and we enjoyed the very brief sardonic "Promiscuity" and the charming "The Monk and his Cat".

Of course the audience would not let Mr. Polenzani off the stage without an encore. It was here in "La Barcheta" from Reynaldo Hahn's Venezia that we got to hear the artist in his gentle mode, singing in Venetian dialect, which he translated beforehand for a grateful audience. We would love to hear the entire cycle and hope that Mr. P. will offer that at his next recital.  His diminuendos are like no others!

Yet another encore was offered, Frank Bridge's "Love Went a-Riding", a setting of a poem by Mary Coleridge, composed in 1917.  A standing ovation paid tribute to this amazing artist and his fine collaborative pianist. Our wish for the future would be to hear the entire Venetian cycle by Hahn.  Always leave them wanting more!

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A TRIO WOWS A FULL HOUSE

Ken Noda, Matthew Polenzani, Corinne Winters

The George London Foundation for Singers got their recital series off to a stellar start with yesterday's recital.  The "trio" that wowed a "full house" comprised celebrated tenor Matthew Polenzani, rising star soprano Corinne Winters and beloved collaborative pianist Ken Noda in a well-thought-out program that gave each artist a chance to shine.  We know Mr. Polenzani only from his onstage appearances at the Metropolitan Opera and Ms. Winters only from her enchanting performances with the New York Festival of Song.  What a treat to see and hear Mr. P. up close and personal and to hear Ms. W. treat a New York audience to the kind of singing for which she has been acclaimed worldwide.

She has a rich resonance in her voice, belying the claim that petite singers have petite voices.  She performed a set of songs by Reynaldo Hahn and Camille Saint-Saëns in fine French, employing dramatic word coloring and emphasizing the dark richness of her voice.  In "Dis-moi que je suis belle" from Massenet's Thaïs she conveyed the character's insecurity with total conviction.  We loved Rimsky-Korsakov's "Dreams of a Summer Night" in which a young maiden dreams of a romantic awakening.

Mr. Polenzani mastered all the subtleties of "Wie singt die Lerche schön" in a lovely set of songs by Liszt; our favorite in this set was the gorgeous "Die stille Wasserose" in which the silence between the notes maintained the delicate mood most effectively.  In contrast, "Es rauschen die Winde" was an expression of anguish and loss.  The tenor's secure technique allowed him to immerse himself in the text.  Later in "Pourquoi me réveiller" from Massenet's Werther we felt the hero's heart breaking in passionate lament.  An exquisite diminuendo heightened the effect.  In this French-heavy recital we were delighted that Ravel's Cinq mélodies populaires grecques were included.  Mr. P. showed his humorous side in "Quel gallant m'est comparable" and the audience loved it.  They also appreciated his charming informality, waving to his children in the audience.

We literally could not wait to hear the two artists in a duet and were amply rewarded by the entire St. Sulpice scene from Act III of Massenet's Manon.  Manon, that manipulative bad girl, enters the church where Des Grieux is about to take orders and seduces him away from his religious calling.  Although the voices were perfectly matched, poor Des Grieux is no match for Manon's wiles.  The scene was so well done that sets and costumes appeared in our mind's eye.  Well, not the sets and costumes of the current unloved incarnation at the Met but from an earlier production that we loved and lost.

Another duet was performed as an encore--the one from Bernstein's Candide in which Candide and Cunégonde sing their very conflicting views of what their marital bliss would be.  It was lighthearted and amusing and sent the audience out on a (ahem) high note.  Throughout the recital Ken Noda supported the singers with the kind of attention that we must never take for granted.  We particularly enjoyed the way he conveyed the tinkling of the fountain in the opening chanson "Les fontaines" and the many colors in Rachmaninoff's "Dreams".

We want to urge everyone who loves vocal music to get on board for this tantalizing series of recitals in which the George London Foundation pairs an artist who is a recent prize winner with an artist who was awarded a prize in the recent past.  May they continue forever to award prizes to such deserving artists!

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OFF WITH HER HEAD

Elza van den Heever

Joyce DiDonato

Two queens did  battle on the stage of the Metropolitan Opera in Donizetti's worthy Maria Stuarda, based upon the Schiller play (which took some large liberties with history).  Not the knock-down drag-out fight between the two divas in the 1835 opening, but the battle of two characters of varying temperaments and character--the shrewd and brilliant Protestant Elizabeth and the emotional and sensual Mary Queen of Scots, a Catholic without honor in her own country.  What was most thrilling about the production was the contrast between two prime donne--soprano Elza van den Heever as Elisabetta and mezzo Joyce DiDonato as the hapless Maria.  We are convinced that these two superstars, unlike the two divas of 1835, got along just fine backstage!

Donizetti's writing for the voice is thrilling and just needs the right voices to bring it to life; here we had the right voices.  Ms. van den Heever has a bright penetrating sound and the agility to master the fioritura of the bel canto style, sadly missing from last season's production of Anna Bolena also at the Met.  Ms. DiDonato has a mellower sound, full of pathos and vulnerability except in the scene where she verbally attacks Elisabetta with vile insults, instead of assuming a modest submissive mien which might have saved her life.  Ms. DiDonato is likewise a master of the bel canto style with incredible precision in her runs and a trill to die for.

There is not much to the story.  The Earl of Leister, winningly sung by Matthew Polenzani, wants Elisabetta to forgive Maria, or at least to meet with her and consider it.  They meet in a forest outside the prison in which Maria has been sequestered.  The meeting goes badly and Maria is condemned to death by chopping block.  Maria is also supported by George Talbot, well-sung by bass Matthew Rose, and her companion Jane, equally well-sung by sturdy mezzo Maria Zifchak.  Taking Elisabetta's side is her Secretary of State Lord Cecil, sung by the fine baritone Joshua Hopkins.  But it is the two stars that carry the show.

David McVicar's production is inoffensive, properly accurate in time and place.  No great risks are taken, which is all to the good so that we can focus on the music.  Sets and costumes by John Macfarlane are acceptable in that the sets suggest the halls of the various palaces but a bit strange when the forest is set off by steps on all sides, reminding one of Chichen Itza.
The costumes in the first scene are all white against a background of bloody red, probably meant to be symbolic of the bloodshed to come but not at all suggestive of the court of that epoch.  In the final scene, the characters are all in black.  A bit obvious, no?

Musical values were strong all-around.  Maestro Maurizio Benini evinced an unusually clear and nuanced reading of the score while supporting the singers totally.  There was a memorable moment when Ms. DiDonato produced one of the finest diminuendi ever heard while Maestro Benini held the orchestra down.  Unforgettable!

The Met chorus sang with its customary verve and clarity of diction.  They opened the opera with a joyful chorus about Elisabetta's impending marriage and closed the opera with a mournful dirge about Maria's impending death.  We watch Maria's ascent to the scaffold with the looming figure of the executioner--waiting.

(c) meche kroop