OPERA IS ALIVE AND WELL

Curtain Call time at Richard Tucker Gala at Carnegie Hall

We don't have to worry about the future of opera as long as The Richard Tucker Foundation is around to support young singers. The sold out house testifies to the fact that there is an audience for opera and the standing ovation tells us just how enthusiastic this audience is. The gala was live streamed on medici.tv and can be seen and heard on Facebook. This is the foundation's 44th year and has succeeded admirably in honoring the memory of the great Richard Tucker.

Audience members received a warm welcome from Barry Tucker followed by two uninterrupted hours of pure aural delight. We have every intention of telling you about this year's winner but something else excited us so much that we are just bursting with enthusiasm to tell you about it.

Perhaps our enthusiasm is because we have been writing about soprano Nadine Sierra since we began reviewing and have a special interest in her career and a deep attachment to her success. Her winning the 2017 award last year surely helped to advance her rapid rise to stardom both in the USA and abroad.

Last night she literally stole the show. She gave a lesson in seduction the likes of which we have never witnessed. Sporting a slinky backless red gown, she proceeded to tear Des Grieux away from the priesthood in a manner that recalled the desperation of Madam Arkadina working her wiles on Trigorin in Chekhov's The Seagull.  We have always thought of Ms. Sierra as "the diva next door"--all girlish innocence; so it was a revelation to hear her use her gorgeous instrument in the service of manipulation. On the receiving end of this manipulation in "N'est-ce plus ma main?" from Massenet's Manon was 2014 Richard Tucker Award winner tenor Michael Fabiano.

We saw a totally different side of this versatile soprano in a charming and lighthearted aria ("Me llaman la primorosa") from El Barbero de Sevilla, a zarzuela composed by Gerónimo Giménez and Manuel Nieto. This is a gloss on the Rossini opera and the singer is the soprano of a young company rehearsing that opera. Regular readers know of our enthusiasm for zarzuela and we love this aria but never heard it done so well. The fioritura virtually sparkled and there was a lovely "competition" with the flute.

So, dear readers, we received a lesson in seduction from a young woman of outstanding physical and artistic gifts; but we also got a lesson in seduction from a mature woman who dazzled us with an over-the-top rendition of the "Habanera'" from Bizet's Carmen. If you have already guessed that this was a surprise appearance by mezzo-soprano Stephanie Blythe (1999 award winner), you deserve one of the red roses that she showered upon the audience and Maestro Marco Armiliato, as well as the Concertmaster. This artist can still raise the temperature in the room and we love her dearly.

We might add that we got a bit teary-eyed when she sang "Take Care of This House" from Leonard Bernstein's 1600 Pennsylvania Avenue. Our tears sprang from the realization that no one is taking care of the White House these days. "This house is the hope of us all", sang Abigail Adams in the show. We comforted ourself by converting the house in the song to Carnegie Hall; this is a house we can take care of! And we must!

And now, let us move on to 2018 award winner Christian Van Horn. He is one of only three bass-baritones to have ever won the Richard Tucker award. He opened the program with an exciting aria from Verdi's Nabucco in which the high priest Zaccaria responds to his people's lament "Va Pensiero". (The incomparable Metropolitan Opera Chorus was on hand and we wished that his aria had been set up with a performance of that work.) It was a fine impassioned performance nonetheless, demonstrating the artist's flexibility in the cabaletta.

Later on, he tackled the complex "Ella giammai m'amò" from Verdi's Don Carlo, in which we are meant to feel compassion for the evil King Philip who oppresses his people and has stolen his son's intended bride. He even asks the Grand Inquisitor for permission to kill his son!  It is only Verdi's music aided and abetted by Mr. Van Horn's artistry that permitted "sympathy for the devil".

The rest of the evening's program achieved its customary level of excellence. With big voices like these, we got to hear quite a bit of Verdi. Mr. Fabiano, the 2014 winner, performed "Quando le sera al placido" from Luisa Miller with pleasing vibrato, delivering a lot of angst in the recit and plenty of lyricism in the aria. We liked his use of dynamic variety and color.

Soprano Angela Meade tackled the fiery "No,no! giusta causa" and wrestled it to the ground. Ms. Meade, the 2011 award winner, is a force of nature with a rich tone and a soaring upper register. There were some gorgeous tones floated up toward the balcony but it was the fiery cabaletta that grabbed us. There were significant contributions from the Metropolitan Opera Chorus. We have never heard this early opera by Verdi-- I Lombardi al prima crociata, but somehow we feel we got the best moment!

Baritone Quinn Kelsey performed "È sogno? o realtà", from Falstaff.  Accompanied by the horns, he delineated with building intensity, the ultimate expression of masculine pride and poisonous jealousy, as Mr. Ford believe his wife to have been unfaithful.

We had never heard tenor Yusif Eyvazov but what a sweet sound he has! He knows just how long to hold a note without strain or excess and his tone just sailed over the orchestra in Manrico's beloved aria "Di quella pira" from Il Trovatore. We liked the change of color and intensity in the recapitulation.

There were plenty of goodies besides Verdian ones. We were particularly fond of soprano Christine Goerke's performance of "Es gibt ein Reich" from Strauss' Ariadne auf Naxos. Her voice and phrasing did justice to the composer's soaring vocal lines.

Ms. Goerke, the 2001 award recipient, reappeared as the excommunicated Santuzza singing the Easter hymn from Mascagni's Cavalleria rusticana, supported by the chorus and organist--another superb performance.

Tenor Javier Camarena addressed the audience with a humorous anecdote before launching into an aria from an opera unknown to us--Manuel Garcia's Florestan. Himself a singer and father of two singers (Pauline Viardot and Maria Malibran) Garcia knew how to write for the voice. We loved the way Mr. Camarena handled the French and are pleased to learn that he is interested in promoting the career of Garcia, whom we only know of through a musical evening we reviewed that celebrated his introduction of Mozart operas to the USA.

In a lovely duet with Ms. Meade from the lesser known Rossini opera Armida, we enjoyed his flexibility in the fioritura, as he portrayed the Christian knight Rinaldo being seduced by the titular sorceress.  More seduction!

We got to hear one more selection from Mr. Van Horn in the stunning duet "Suoni la tromba" from Bellini's I Puritani.  Sharing the duet with Mr. Kelsey, it was a fine example of harmonic writing for contrasting voices, in martial rhythm.

We were waiting to hear soprano Anna Netrebko sing "Pace, pace" from Verdi's La Forza del Destino but that never happened. But we did hear her in a duet with Mr. Eyvazov, the final duet from Giordano's Andrea Chenier in which Maddalena and Chenier go to their death on the guillotine. Their two large voices filled Carnegie Hall with overtones.

Maestro Armiliato conducted the always wonderful Metropolitan Opera Orchestra; both orchestra and the Metropolitan Opera Chorus added greatly to the evening.

It was a sensational evening. We heard some of our favorite singers and some that were not yet known to us. We heard several arias and duets that we don't often get to hear. We renewed our appreciation for the Richard Tucker Foundation. And we made plans to attend Boito's Méfistofélè at The Met so that we could hear Mr. Van Horn, Ms. Meade, and Mr. Fabiano together!

(c) meche kroop

THE DIVA NEXT DOOR

Bryan Wagorn and Nadine Sierra

We rushed uptown to the Park Avenue Armory from our afternoon at the Morgan Library where we heard seventeen young singers competing for the generous awards given by the George London Foundation.  Only a glutton for vocal music could retain energy and enthusiasm. But the artistry of Nadine Sierra and her piano partner Bryan Wagorn ensured that our attention never flagged. 

It occurred to us that Ms. Sierra, not yet 30, would have fit right in with the demographics of the London competitors.  But Ms. Sierra won that competition eight years ago!  And performed a recital for them three years ago as well.  One might say that her star ascended very early. Indeed she was the youngest person to have won the Met National Council Award. And the awards just kept rolling in!

Ms. Sierra is now world renowned but she maintains the warmth, naturalness, and generosity of spirit that can bring an audience to its knees--and to its feet also, for a standing ovation. We have reviewed her performances more than any other singer.  Five years ago we called her "The Diva Next Door".  Earlier reviews have been lost but we have been impressed with her artistry from the very first time we heard her.

Last night she performed as part of a series held in the superbly restored Board of Officers Room at the Park Avenue Armory. The intimate space allowed us to feel up close and personal and its historic nature seemed perfect for a vocal recital.  And what a recital it was!

There was quite a bit of overlapping with a recital she and Mr. Wagorn presented three years ago at Pace University as part of a vocal series that sadly is no more. Our favorite part of both recitals was the Strauss. It seemed as if Richard Strauss wrote the songs with her in mind. The richness of tone, the musicality of phrasing, the artistry of the word coloring, and the intensity of involvement with the text all joined to give the feeling of newness to songs we have heard countless times.

Each song seemed like a mini opera and the listening gave rise to visual imagery, making each one a satisfying experience. "Zueignung" could not have been more passionate and "Allerseelen" could not have been more soulful, as Ms. Sierra caressed each word. The high notes floated up to the very high ceiling.

"Ständchen" was sung playfully and "Cäcilie" with passionate enthusiasm. Ms. Sierra invested "Morgen" with an ethereal quality and Mr. Wagorn's playing of the prelude set the stage perfectly.

Schubert's "Du bist die Ruh" was performed with delicacy and the kind of legato quality one expects in Italian, yet without any cheating of the consonants. The two artists matched each other's style in a most affecting manner.

Schumann's "Widmung" is a bit lower lying but presented no obstacle to Ms. Sierra. We could hear the composer's deep affection for Clara in every phrase.

We have heard Samuel Barber's Hermit Songs many times and have never warmed to them. In spite of the detested music stand, which Ms. Sierra did not seem to need, she was able to give them a full measure of artistry. As usual, the two we do appreciate--"Promiscuity" and "The Monk and His Cat" are not of a religious nature.

Our love for zarzuela was requited by the performance of "Me llaman la primorosa" from Gerónimo Giménez' 1901 El barbero de Sevilla, which is, yes, about some young singers performing the Rossini opera. This gave Ms. Sierra an opportunity to do the Musetta thing and the audience loved it. If there were one thing on the program that we'd want her to do without the music stand, this was it.  What a wonderful encore piece it would be.

Joaquin Rodrigo's mid 20th c. Cuatro madrigales amatorios was written in estilo antico and we always love hearing them for their solid Iberian flavor in the piano and the pungent text. "De dónde venís, amore?" was imbued with flirtatiousness.  In the final song "De los álamos vengo, madre" the final note was spun out like a silk filament and we held our breath.

We were not very familiar with the Turina songs which followed--settings of romantic text by Lope de Vega--but they were quite lovely.

Ms. Sierra is generous in sharing anecdotes with the audience and related how her Portuguese grandmother shared a musical language with her but not a spoken one. She sees her career as a fulfillment of the grandmother's journey. And so we were gifted with some songs in Portuguese.

Ernani Braga's "Engenho novo" is a rapid fire tongue twister that tickled our ears.  On the other hand, Heitor Villa-Lobos' "Melodia sentimental" is lyrical and romantic.  Both were composed in the mid 20th c.

Back came the music stand for Bernstein's "A Julia de Burgos" which we heard recently at New York Festival of Song.

Ms. Sierra expressed her gratitude to Marilyn Horne for jump starting her career and giving her worthwhile advice; she paid her tribute with an encore--Stephen Foster's "Beautiful Dreamer"--beautifully rendered in a very different timbre than the rest of the recital.

It was clear that the audience would not let Ms. Sierra off the stage without some opera and we heard a most enchanting performance of "O mio babbino caro" from Puccini's Gianni Schicchi. What father could resist such a plea?

A word to the wise-- Ms. Sierra has just recorded her first album.  It should be a major success.

(c) meche kroop

RICHARD TUCKER GALA

A magical night at Carnegie Hall

Barry Tucker sure knows how to honor his father, the late and great Richard Tucker; he also knows how to put on a great show, one that all of the citizens of Planet Opera must attend. Rarely are so many superstars gathered under one roof and Carnegie Hall is the perfect venue for us to appreciate their gifts, thanks to its formidable acoustics.

Onstage we had the Metropolitan Opera Orchestra, conducted by Maestro Nicola Luisotti; they got the festivities off to a great start with the rousing overture to Verdi's Nabucco, one of the themes of which we would hear later, performed by the incomparable New York Choral Society--"Va pensiero".

Headlining the program was the stunning soprano Nadine Sierra, whom we have always called "the diva next door". Rarely is so much beauty, glamour, artistry, and wholesomeness found in one person. The Richard Tucker Foundation awarded her top prize this year and they could not have made a better choice.

We have often thrilled to her performance of Gilda in Verdi's Rigoletto, a role she imbues with all the innocence it requires. In "Caro nome", Gilda has just fallen in love with the Duke, whom she believes to be a poor student. Verdi's writing here manifests all the excitement of first love and Ms. Sierra provided ample embellishments without ever betraying the innocence of the character. The a capella section is a high wire act and this artist never missed a step.

What always astonishes us is how a great artist makes a great aria seem completely natural and effortless. Of course we are aware of how much study and practice it takes to make something appear effortless! The greatest astonishment of the evening was her performance of Violetta's scena from Act I of Verdi's La Traviata.

In this aria, Violetta is reflecting upon the new man who has been devoted to her for some time but only just arrived on her doorstep, so to speak. Violetta, in her way, is as innocent of love as Gilda is, but she is also worldly. She lives a life devoted to carefree pleasures as a well-kept mistress; but something deep inside has been awakened by the promise of love. In this scena she considers both options. Verdi's music and Ms. Sierra's delivery told us everything we need to know about this complex woman. Here, her fioritura was suitably feverish and florid.  The standing ovation was well deserved.

The other standing ovation of the evening was earned by mezzo-soprano Stephanie Blythe (1999 Award winner) who performed the most unusual version of the Habanera from Bizet's Carmen we have ever witnessed. The uniqueness of her sound, paired with a very over the top piece of acting brought out appreciative giggles and torrents of applause. She was having a great time onstage, interacting with the conductor and the concertmaster.

We got to hear a more traditional aria from her also--"Aure, deh, per pietà" from Handel's Giulio Cesare, accompanied by what appeared to be a theorbo. We felt like our ears had tastebuds and we were drinking thick rich hot chocolate. No one sounds like Ms. Blythe!

Another remarkable performance was delivered by tenor Vittorio Grigolo who actually transformed himself into Canio from Leoncavallo's Pagliacci before our very eyes, so completely did he immerse himself in the role. He milked it for all it was worth and we gained an understanding of Canio's pain that seemed to go deeper than jealousy. The tearful vibrato in his voice seemed absolutely right.

In the role of Tonio who performs the  Prologue to Pagliacci, "Si può", we heard baritone Anthony Clark Evans  We loved the way he created a believable character, miming the movements of an itinerant performer about to face a new audience. We also loved the waves of rich sound he produced. We are so glad that the foundation has been nurturing his career with a Study Grant in 2014 and a Career Grant this year.

Dramatic soprano Tamara Wilson (last year's Tucker Award winner), accompanied by the massive chorus, gave a compelling performance of "In questa reggia" from Puccini's Turandot. In an original masterstroke, she interpolated the tenor's line, right before the high C, as explained by our friend the pianist Michael Fennelly. We were impressed by the modulated quality she achieved without the oft heard shouting.

She also performed the role of Aida in a duet with Amneris (mezzo-soprano Ekaterina Semenchuk). In "Fu la sorte dell'armi" she gets tricked by her rival for Radames' affection into exposing her love for him. There is a gross imbalance of power, but an excellent balance of voices!

Ms. Semenchuk also sang "O mio Fernando" from Donizetti's La Favorita, accompanied by our new favorite instrumental combination--harp and horn.

Counter-tenor Anthony Roth Costanzo performed "Rompo i lacci" from Handel's Flavio. For this stunning performance, the orchestra was joined by a baroque guitar. There were plenty of fireworks in the A section, delivered with the rapid-fire precision  for which Mr. Costanzo is famous, but we were more interested in the largo B section in which we could appreciate the long legato lines.

Soprano Ailyn Pèrez (the 2012 Tucker award winner) never fails to delight and delight she did with "Ebben! Ne andrò lontana" from Catalani's rarely performed verismo opera La Wally. There was a memorably graceful portamento in this heartfelt aria and Ms. Pèrez brought it to a thrilling climax. Even better was her performance of "Un bel di" from Puccini's Madama Butterfly in which the pathos is punctuated by the percussion in the orchestra.

Soprano Rachel Willis-Sørensen, who has won two grants from the foundation, reprised the performance we so enjoyed at The Greene Space--the "Czardas" from Johann Strauss II's Die Fledermaus. In this aria, Frau Eisenstein pretends to be a Hungarian Countess to trick her wayward husband. The purposeful overacting brought fun to us and, we hope, to her as well.

Mezzo-soprano Tara Erraught produced some vocal fireworks in the well known bel canto aria which closes Rossini's La cenerentola--"Nacqui all'affanno...Non più mesta". We liked the way she paced it, giving herself room to expand the runs and trills which Rossini produced in cascades.

Tenor Peni Pati sang "La donna è mobile" from Verdi's Rigoletto with a rather covered sound. We liked the variety of dynamics.

Ms. Sierra and Mr. Grigolo made quite a pair in "Tonight" from Bernstein's West Side Story. You may disagree but we see this as an American Opera.  All it needs to graduate from Broadway to the opera stage is topnotch unamplified voices.

The dazzling evening closed with the final scene from Verdi's final opera Falstaff. This elaborate fugue is endlessly inventive and unremittingly delightful.

It was a long evening, 2 1/2 hours without intermission, but it flew by with not a single longueur.  As we said, Barry Tucker knows how to throw a party!

(c) meche kroop

COMFORT YE

Raul Melo, Markos Simopoulos, Steven Gaertner, Marsha Thompson, Anias Mejias, Christina Parnell, Nicholas Brownlee, Jennifer Feinstein, Caroline Worra, Philip Cokorinos, Kirsten Chambers, Pretty Yendy, MaryAnn Stewart, and Lauren Flanigan

It has been 22 years since superstar soprano Lauren Flanigan began hosting Comfort Ye, a Christmas recital to raise money for The West Side Campaign Against Hunger. There is always a roster of famous artists on the program and, recently, some of the young artists who have participated in her Music and Mentoring House. The recital was held at The Church of St. Paul and St. Andrew. Music Director was the esteemed Kamal Khan.

This year's lineup could not have been more exciting.  For three hours, the audience was held in thrall by an incredibly varied program and all different types of voices, everyone putting out their very best, as one tends to do for friends. And who is better at making and keeping friends than the warm and generous Ms. Flanigan.

To say that her performance of Lady Macbeth's aria "Vieni, t'affretta" was riveting would be an understatement. Ms. Flanigan's prodigious vocal gifts are matched by a deep understanding of Verdi's anti-heroine who uses every skill and emotional nuance to drive her husband to murder. We cannot stop thinking about this deeply felt and realized performance.

In a sea of superb performances, two stood out as being perfect--a word we rarely use. Two sopranos at the absolute top of their game, possessing every necessary attribute, delivered unforgettable performances,. Nadine Sierra sang "Regnava nel silencio" from Donizetti's Lucia di Lammermoor. She is a master at bel canto and gave us chills. Our benchmark for a top performance is reached when we feel along with the singer and can see what she sees. Ms. Sierra made us see the ghost!

Just as wonderful was soprano Pretty Yende who performed "Una voce poco fa" from Rossini's Il Barbiere di Siviglia, which we normally prefer when sung by a mezzo. A mark of her success was that it sounded as if Rossini wrote it just for her. The extensive embellishments were created by her with pianist Kamal Khan, who played so magnificently for all the singers. Ms. Yendy lives up to her first name but her good looks are enhanced by her smile which lights up her face and added to her characterization of Rosina.  This Rosina is more playful than spunky and the embellishments she devised with Mr. Khan were wildly playful.

Two promising young artists from Music and Mentoring House made a fine impression. Soprano Christina Parnell sang "Porgi amor" from Mozart's Le Nozze di Figaro and baritone Markos Simopoulos sang "Avant de quitter ces lieux" from Gounod's Faust, in fine French. The voices were healthy and suggested a fine potential.  What needs to be layered onto that is the ability to create a character with vocal color and the use of the body.

Several other performances impressed us. Bass Nicholas Brownlee performed "Ves' tabor spit" from Rachmaninoff's one act opera Aleko. His vocal colors were so varied that we understood what he was singing about without understanding the Russian!  Now that's impressive.

Another thing that impresses us is a singer who can be understood in English, which is our least favorite language for the voice.  Tenor Aaron Blake sounded terrific in the program opener "Comfort Ye" from Handel's Messiah. He has a nice ping-y quality to his voice and admirable technique for the fioritura. Soprano Caroline Worra similarly made every word count in "Ain't It a Pretty Night" from Carlisle Floyd's Susannah, which we liked far more than we usually do,

Baritone Larry Woodard accompanied himself on the piano for Maury Yeston's "I Don't Want to Rock and Roll".  We got every word!  Not so the case when he accompanied Carol Skarimbas who sang the very funny Cole Porter song "Operatic Pills".  The text is so clever and we really wanted to hear every word!

We wished we could hear the entire opera when soprano Anias Mejias sang "Merce dilette amiche" from I vespri siciliani by Verdi.  We loved the bouncy bolero rhythm and her facility with the fioritura.

Soprano Marsha Thompson gave a dramatic performance of "Tacea la notte placida" from Verdi's Il Trovatore; she was especially fine in the cabaletta with some arresting embellishments.

Also from Verdi we enjoyed soprano MaryAnn Stewart's performance of "Pace, pace mio dio." We were just thinking how much we love that opera and wondering why no one does it, when Keith Chambers, of New Amsterdam Opera, gave us some advance notice of his concert version of the opera coming up March 24th.  We can scarcely wait!

Soprano Kirsten Chambers, so well remembered from her Fidelio with the same New Amsterdam Opera, treated us to the "Liebestod" from Wagner's Tristan und Isolde. 

Verismo was not shortchanged. Stephen Gaertner is a true Verdi baritone and performed "Zaza, piccolo zingara" from Leoncavallo's Zaza. Tenor Raul Melo has never sounded better than he did in his performance of "Vesti la giubba" from Pagliacci by the same composer. Every line was milked for emotional intensity and we loved it.

We are not sure which fach Mascagni intended for Santuzza in Cavalleria Rusticana but "Voi lo sapete" sounded great from mezzo-soprano Jennifer Feinstein and every phrase seemed dramatically motivated.

As is customary, we heard several selections from the Ebony Ecumenical Ensemble, directed by Bettye Forbes. Beside "This Little Light of Mine" and "Go Tell It On the Mountain", we enjoyed an African piece we'd never heard.

Before closing with "O Holy Night", sung by the entire company, Ms. Flanigan treated us to a Leonard Bernstein song "A Julia de Burgos" about the bipolar poet laureate of Puerto Rico who died homeless--taking us right back to the raison d'etre of the evening.

It was a win-win evening. Singers got to show their stuff, the audience got some ravishing entertainment, and the homeless will get coats, blankets, and groceries donated by the audience.  Is everybody happy?  We think so!

(c) meche kroop

SO MANY STARS IN THIS FIRMAMENT

Star-studded cast of Richard Tucker Foundation Gala at Carnegie Hall

Perhaps you enjoyed the gala webcast live on medici.tv; we were fortunate enough to be there in person, right there in Carnegie Hall, a venue we much prefer to host an event of this magnitude. It's been a quarter century since the Richard Tucker Foundation Gala was held here.

Every year the Richard Tucker Foundation throws a helluva party to celebrate the current year's winner of the Richard Tucker Award, a ginormous $50,000 cash prize. That buys a lot of gowns and coachings!

The Richard Tucker Foundation was begun shortly after Mr. Tucker's untimely and premature death.  It has perpetuated his artistic legacy by supporting young artists for 40 years and bestows its incredibly generous award on an artist poised at the edge of a major international career. Soprano Tamara Wilson sure meets that requirement in spades (and in hearts, diamonds, and clubs).

This versatile artist made several appearances tonight, opening the program with "Dich, teure Halle" from Richard Wagner's Tannhäuser, following the "Entrance of the Guests" from the same opera, performed by the superb New York Choral Society and members of the Metropolitan Opera Orchestra led by Maestro Asher Fisch.

Ms. Wilson is one of those big beautiful girls with  big beautiful voices that come along every few years; she sure knows how to use this impressive instrument. We loved the way she sensitively modulated the volume and the way she limned the character of Elizabth. 

She is just as adept with Verdi as with Wagner. Now that we have heard her sing "Tu al cui sguardo onnipossente" from I due Foscari, we will be very disappointed if the Met doesn't stage Verdi's early work and cast her! The flexibility in the fioritura fireworks, coming from such a huge voice, was remarkable.

With her mezzo-soprano counterpart Jamie Barton as Adalgisa and tenor Joshua Guerrero as Pollione, the finale of Act I from Bellini's Norma made a great impression.  As versatile as she is, perhaps Cunegonde was not the best choice for the closing number, although her voice did harmonize well with Mr. Guerrero's in "Make Our Garden Grow" from Leonard Bernstein's Candide.

Getting back to Jamie Barton, this artist never fails to astonish us. There is something about her self-possession and the ability to get inside each character and make it her own that makes her a standout. Not since Marilyn Horne performed the role have we heard such luscious seductiveness pouring out of Dalila in "Mon coeur s'ouvre à ta voix" from Camille Saint-Saëns' Samson et Dalila. No Samson could resist!

Her duet with mezzo-soprano Joyce DiDonato "Son nata a lagrimar" from Georg Frideric Händel's Giulio Cesare was stunning. It was a perfect example of two fine artists of the same fach sounding very very different.  Having just come from Ms. DiDonato's master class, we witnessed exactly what she was trying to teach the youngsters in her class--giving the audience YOU, not what they expect.

We wish we could say that of soprano Kristine Opolais. She has a small voice without much variety of color but the major deficit, from our point of view, is that she "presented". We did not perceive much depth in her "Song to the Moon" from Antonin Dvorak's Russalka (a favorite of ours) and her "Un bel di" from Giacomo Puccini's Madama Butterfly was filled with extravagant gesture but not much feeling. We may be alone in this opinion since the audience seemed pleased with both arias.

We suppose we have been spoiled by Renée Fleming's Russalka and wished that she had sung it last night. Not that we were at all disappointed in her choices!  The violins set the tone for her "Adieu, notre petite table" from Jules Massenet's Manon. The colors of grief gave way to colors of joy in Ruggero Leoncavallo's  lovely serenade "Mattinata".

Soprano Nadine Sierra can be counted on to give a superior performance each and every time. She is an artist of the finest caliber and graces the stage with her presence. We have witnessed the growth of her career for several years and she just keeps getting better and better. 

In "Regnava nel silenzio" from Gaetano Donizetti's Lucia di Lammermoor, she was totally present and made Lucia's character her very own. She wisely set up Lucia's fragility and instability while maintaining vocal integrity.  Her duet with tenor Javier

Camarena--"Vieni fra questa braccia" from Vincenzo Bellini's I puritani showed a generosity of spirit and some lovely harmonies.

Mr. Camarena delighted the audience with his garlic-infused tarantella "La danza" by Gioachino Rossini, an old chestnut made new. His duet with tenor Lawrence Brownlee--"Ah vieni, nel tuo sangue" from Rossini's Otello was kind of strange with each tenor holding onto the "money note" for unreasonable lengths of time, causing the audience members to laugh out loud. Somehow, this rivalry seemed wrong for the aria in which Otello and Rodrigo are planning a duel, not a vocal competition.

The appearance of Anna Netrebko was most welcome. Having passed through the ingenue phase she has emerged with a glorious burnished instrument that thrills us in verismo territory even more than it did in bel canto land. Hearing her "La mamma morta" from Umberto Giordano's Andrea Chénier was a revelation and we can't imagine Gérard resisting any better than Samson resisted Dalila.

She has not lost her scintillating upper register with overtones galore while the lower register has expanded, offering a plenitude of texture. Her interpretations serve the character.

She followed this aria with an unscheduled one--"Io son l'humile ancella" from Francesco Cilea's Adriana Lecouvreur--which further confirmed our impression. How interesting that Joyce DiDonato sang an aria on a similar theme--"Si, son io" from Jake Heggie's opera Great Scott which premiered exactly one year ago in Dallas with Ms. DiDonato as the star.

We have never enjoyed Heggie's writing as much as we did this aria. The thought occurred to us that the Italian language dictates a far lovelier vocal line than does the English language. And Ms. DiDonato's performance demonstrated all the principles that she taught in her master classes, reviews of which will appear within a couple days, right here.

Tenor Lawrence Brownlee performed "Seul sur la terre" from Donizetti's forgotten opera Dom Sébastien. His French was lovely, as was his phrasing but his voice did not capture our interest; we found the vibrato a bit too wide for our taste and there was some closing off of the high notes that made our throat hurt--a problem we experience so often with tenors. 

We enjoyed the participation of the New York Choral Society in the opening number especially but also in the Norma trio, the Verdi, and in the closing number from Candide. Several musicians from the Metropolitan Opera Orchestra made significant contributions, especially the harp in "Seul sur la terre".

Our ears are still tickled 8 hours after the concert.  We imagine the walls of Carnegie Hall are still vibrating! Long may they vibrate!

And here's a link to the broadcast....https://www.medici.tv/richard-tucker-opera-gala/embed/.  Now you too can enjoy!

(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

THE STARS AT NIGHT ARE BIG AND BRIGHT....

What a lineup at the Richard Tucker Music Foundation Gala!    
(photo by Dario Acosta)

This year marks the 40th anniversary of the Richard Tucker Music Foundation. Sunday night's recital was not just an opportunity to hear some of the greatest voices onstage today; it was also a celebration of the foundation's work in supporting young American opera singers with awards, grants and performance opportunities at every stage of their careers. As if this were not enough to perpetuate the legacy of Richard Tucker, the foundation also offers free performances in New York City and supports music education enrichment programs.

The biggest prize, the Richard Tucker Award, went this year to the glorious and glamorous mezzo-soprano Jamie Barton who gives us goose bumps every time we hear her. The best part is that this glorious instrument belongs to a completely likable and unaffected young woman who exudes Southern charm from every pore.

Anyone interested in acquiring stage presence should observe Ms. Barton as she strides onto the stage knowing that she is her own woman and in full confidence of what she has to offer.  And offer she did!  In fine French she bid farewell to Carthage in Queen Dido's aria "Je vais mourir...Adieu, fière cité" from Berlioz' Les Troyens.  She knew exactly when to give forth and when to pull back, milking the aria for every ounce of pathos. She floated a top note so effectively it seemed to evaporate.

Her delivery of "Acerba voluttà", the Principessa's aria from Francesco Cilea's Adriana Lecouvreur, revealed the luscious texture of her voice when confronted with soaring Italian melody. Phrasing and dynamics lent even more interest.

The other famous aria from this opera belonging to the titular character "Io son l'umile ancella" was given a touching performance by the glorious soprano Renée Fleming whose career was launched by a Richard Tucker grant 25 years ago.  To hear a glamorous star sing of humility in such a convincing fashion was evidence of her incomparable artistry.

She also contributed two lovely duets.  The first had her singing Marguerite to Piotr Beczala's Faust in "Il se fait tard" from the Gounod opera of the same name. Their voices balanced beautifully. We were not so enthusiastic about the second pairing when she sang Mimi to Andrea Bocelli's Rodolfo; she did fine but Mr. Bocelli's slender tenor was no match for her vocally. We could barely hear him. This was an impoverished Bohème leaving us as cold as Mimi's hands.

Perhaps he was invited to participate because he is famous with the general public but it seemed somewhat unfortunate to me that he was put on stage with all these great voices. In his solo, "M'appari tutt' amor" from Friedrich Flotow's Martha, one strained to hear him; this was also the case in his duets with any of the other singers.  No matter!  The audience loved him.

Soprano Nadine Sierra, who has won career and study grants, has been achieving phenomenal success recently and deserves it. Although she did not perform a solo, we greatly enjoyed her duets. She sang Juliette to Stephen Costello's Roméo in Gounod's "Va! Je t'ai pardonée" and the two of them had such incredible chemistry that we forgot it was a recital. We have already lined up tickets to Mr. Costello's performance of this role in Santa Fe next summer!

Mr. Costello's solo "E la storia solita del pastore" from Francesco Cilea's L'Arlesiana revealed a fineness of tone and depth of feeling. The night we went to hear Mr. Costello as Percy in Anna Bolena (we had enjoyed his performance so much a couple years earlier) he was out sick but this performance made up for it. He won his award in 2009, after getting a career grant two years earlier. The foundation really does nurture it's grantees.

Christine Goerke has a soprano that shakes the walls. If there had been a set we could have said that she chewed up the scenery when she sang Princess Eboli's aria "O don fatale" from Verdi's Don Carlo.  It was an electrifying performance, giving different colors to each of the three sections, creating a complex character. Ms. Goerke always knows her characters and brings them to vivid life. Although we love Mozart and bel canto, we are glad that this amazing artist is finally achieving her true purpose onstage. She won the Richard Tucker Award in 2001. Perhaps they saw her potential before anyone else did.

Mezzo-soprano Isabel Leonard is a star of the first quality who stood out since her days at Juilliard. Her award came in 2013 and we have never seen her give a performance that was less than brilliant. She performed "Nacqui all'affano...Non più mesta" from Rossini's La Cenerentola. With her brilliant bel canto technique and rich flexible instrument, she is the perfect Rossini heroine. The fireworks of her fioritura linger in the memory.

Coming onstage towards the end of the recital was Angela Gheorghiu who impressed with her performance of "In quelle trine morbide" from Puccini's Manon Lescaut and "Ebben! Ne andrò lontano" from Alfredo Catalani's La Wally. She stuck us as an old school diva with great command of the stage, the material, and the audience's attention.

We were happy to hear tenor Piotr Beczala because his communication with the audience was so far superior to that in his Zankel Hall recital two nights earlier. He knew his way around "Nessun dorma" from Puccini's Turandot and managed not to imitate anyone else. He exhibited the easy top notes that had sounded strained at the recital. He had some excellent choral assistance from the massive New York Choral Society who had opened the program so effectively with the well-chosen curtain raiser "Ohè! Ohè Presto" from Leoncavallo's Pagliacci.

Tenor Lawrence Brownlee sang "Terra amica...Cara! deh attendimi" from Rossini's little known opera Zelmira. His voice was exposed by the light orchestration and proved to be pleasantly flexible. However, he tended to push his high notes rather than floating them.

We have saved the best for last.  Christine Goerke and Jamie Barton joined forces for the duet "E un anatèma" from Ponchielli's La gioconda. Two huge voices, perfectly matched, dukeing it out for romantic supremacy=major wow.

The evening closed with excerpts from the "Triumphal Scene" from Verdi's Aida. The New York Choral Society, under the direction of David Hayes, and members of the Metropolitan Opera Orchestra conducted by Maestro Eugene Kohn, were joined by all the singers onstage. Trios of trumpets blared from the second ring of the newly renamed David Geffen Hall, creating a Surround Sound effect that was thrilling, drawing the evening to a sensational close.

(c) meche kroop

TRIPLE THE PLEASURE

Bryan Wagorn, Nadine Sierra, and Anthony Roth Costanzo

We get warm fuzzy feelings when we witness the meteoric rise of artists we've noted and admired since their student years. Such was the case yesterday when The George London Foundation for Singers presented two of their winners from 2010 at The Morgan Library. This series is consistently wonderful and The Morgan Library space is just the right size for vocal recitals.

We had not even begun writing about the vocal arts when we first heard soprano Nadine Sierra and counter-tenor Anthony Roth Costanzo.  It was even before they won their prizes in 2010.  But we knew enough about singing to have recognized their respective gifts and to have predicted the major careers that they have earned.

Maestro Wagorn has played for the best in the business and was the perfect choice as collaborative pianist; he is unfailingly in tune with the singers and matches their moods and the feeling tone of the text and music.

If you read through to the end you will learn about the wildest craziest encore we have ever heard.  But let's begin at the beginning. Ms. Sierra, appearing like a Greek goddess, sang a pair of songs that Franz Schubert wrote in 1825 for a play with a very complicated Shakespearean plot, entitled Lacrimas.  Typical of Schubert they are lavish with melody and Ms. Sierra caressed every word in an expressive but unaffected manor. "Lied des Florio" was replete with sadness while "Lied der Delphine" was in a more cheerful vein.  Both were lovely.

Mr. Costanzo followed with three of Henri Duparc's jewels.  Mr. Wagorn's rippling arpeggios and Mr. Costanzo's superlative French diction contributed to their overall success.  He floats his high notes like mist in the moonlight and can spin out a final note until it is a silken thread.  His breath control is non pareil and allows him to achieve wide dynamic variety.  His word coloring is painterly.

"Chanson triste" achieved a hopeful mood behind the melancholy.  "L'invitation au voyage" brought us to foreign shores, with the final word "volupté" leaving us stunned. Never mind that we just heard it the day before; he made it fresh.  In the terrific "Phidylé" we heard an astonishing messa di voce, one that had us holding our breath.

Ms. Sierra absolutely commanded the stage in her selection of songs by Joaquin Turina and Mr. Wagorn matched her Iberian charm, note for note. "Cuando tan hermosa os miro" and "Si con mis deseos" are love songs while "Al val de Fuente Ovejuna" is a charming tale, sung with charm, about a shy maiden hiding from an importuning man.

The first part of the program ended splendidly with a duet from Händel's Rodelinda, "Io t'abraccio".  The text refers to the pain of parting and the two singers were indeed spatially separated. We lack words to describe the deliciousness of the harmony and the way Baroque technique was used to indicate sobbing. By the end, we ourselves were close to sobbing.

Mr. Costanzo opened the second half of the program with what he does best. Even those who don't quite "get" the counter-tenor fach would have been brought to their knees by "Rompo i lacci" from Handel's Flavio. The wild flights of fioritura presented no obstacle to this intrepid artist, a master of the Baroque style.  Händel knew how to write for the voice and his arias have many sections of various moods and tempi. The slow section could have broken hearts but the fury of revenge in the fast sections could make you weak in the knees.

Ms. Sierra began her aria "Arpa gentil" from Rossini's Il Viaggio a Reims from offstage to the sound of a harp produced by Mr. Wagorn's delicate arpeggios on the piano. She has mastered the Bel Canto style and made her embellishments as meaningful as they were perfectly precise.

We even enjoyed her English in a quartet of songs by Ned Rorem.  Our favorites were the sweet "In a gondola" which describes two different types of kissing and "Song for a girl" in which a 14-year-old girl sings of her innocence and how she expects to become more devious as she gets older.  Ms. Sierra sang them truthfully and with deep feeling.

Five songs by Franz Liszt were performed by Mr. Costanzo.  Our favorite was the peaceful "Über allen Gipfeln ist Ruh" but we must say we prefer our favorite counter-tenor in the more fiery operatic material.

The recital ended with a brilliant duet in Latin--two selections from Giovanni Batista Pergolesi's Stabat Mater in which the harmonies were a touch more dissonant than those of Händel and even more interesting.  The second feature that captured our attention was the fact that the two singers were singing different lines. It was nothing short of astonishing.

And now we get to the best part....the encores.  Ms. Sierra won everyone's hearts with "O, mio babbino caro" from Puccini's Gianni Schicchi. Only the most cold-hearted father could have resisted her importuning! This aria seems to have been written just for her!

Mr. Costanzo chose for his encore....drum roll please...."Summertime" from George Gershwin's Porgy and Bess. In an engaging introduction, he told the audience that the biggest obstacle to becoming a counter-tenor was a psychological one and that his parents were both psychologists.  When the first song he wanted to sing as a child was "Summertime" they encouraged him. This story made us smile.  A lot.  And we'd have to say we have never heard that aria sung like that before. And likely never will again.

And now, the crazy wild encore you have been waiting to hear about...the two artists sang "La ci darem la mano" from Mozart's Don Giovanni--with Ms. Sierra singing the Don and Mr. Costanzo singing Zerlina.  Such gender bending is fun but it also forces us to look at gender roles and expectations in a fresh way.  We were not alone in having our funny bone tickled.

(c) meche kroop

NADINE SIERRA'S FULL PALETTE

Bryan Wagorn and Nadine Sierra

Soprano Nadine Sierra has earned her meteoric rise in the operatic firmament and yesterday, in a new-this-year season of vocal recitals has shown her mettle as a most engaging recitalist.  This young woman has it all--a silvery and focused soprano instrument, marvelous musicianship, perfect poise onstage, glamorous good looks and winning personality.

Along with the always excellent collaborative pianist Bryan Wagorn she delighted the audience who could not restrain themselves from applauding after every single song, and once before the song was over.  With great tact, she accepted the applause and moved on.  She is an artist from whom you cannot take your eyes--or your ears!

The first half of the program was Strauss, all Strauss and nothing but Strauss.  You won't hear any complaints from us on that account since it fits her voice like the proverbial glove.  If curator Matthew A. Epstein was responsible for that choice, we thank him.  We can never get enough Strauss. 

First we heard Acht Gedichte aus Letzte Blätter, Op10 with texts by Hermann von Gilm zu Rosenegg.  Ms. Sierra's fine vibrato and expressiveness well served the passionate "Zueignung", one of our favorites.  The jaunty "Nichts" followed and then the lovely "Die Nacht" on which Ms. Sierra impressed her own stamp of lovely stillness.  She seems to caress each word and lend it the appropriate color, and does she ever have a palette full of colors!  The set closed with the lyrically passionate "Allerseelen", another favorite of ours.  In that set, we particularly enjoyed Mr. Wagorn's pianism in "Die Vershwiegenen".

In the next set, Ms. Sierra's "Ständchen" was an invitation that no one could refuse; the charming text was by Adolf Friedrich, Graf von Schack who also provided the text for the following tender "Breit' über mein Haupt".  Have we ever enjoyed "Morgen" or "Cäcilie" more?  We think not!

The second half of the program began with Cuatro madrigales amatorios by Joaquin Rodrigo Vidre.  So you think you've heard them many times?  Think again.  Ms. Sierra invested them with deep Iberian feeling and rhythm.  The melismatic singing in "De los Alamos vengo, madre" was exceptional.

For Heitor Villa-Lobos' Bachianas Brasileiras no. 5, Ms. Sierra was joined by the superb guitarist João Kouyoumdjian.  The text by Ruth Valladares Corrẽa was preceded and followed by the melody without words that allowed us to appreciate the beauty of the singer's tone.

The program concluded with Samuel Barber's Hermit Songs, Op.29.  Our favorite of this set was "The monk and his cat".  Ms. Sierra excels at painting a picture, but it is a picture that exists for just that moment in time, making it all the more precious.

Two encores were planned and the audience did not have to beg for them, a practice which we personally find distasteful.  The first was Stephen Foster's "Beautiful Dreamer" sung as a tribute to Marilyn Horne whom Ms. Sierra credited for all the guidance she received from her.  (Before you ask, we found Ms. Horne's version on youtube.com and yes, it is gloriously inspiring).  The second encore was "Cuando m'en vo" from Puccini's La Bohème, sung in honor of Barry Tucker whose Richard Tucker Music Foundation supports this valuable series.

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THE DIVA NEXT DOOR

With the looks of a diva, the personality of the girl next door and the voice of an angel, it is no wonder that Nadine Sierra's star just keeps on rising.  We have thrilled to her voice ever since Marilyn Horne introduced her in the series "On Wings of Song" a few years ago and have watched her win prizes and awards that were richly deserved.  Last night we had the opportunity to hear her once more at her Carnegie Hall debut; she just keeps getting better and better.

Ms. Sierra, glamorously gowned and coiffed, surprised us by addressing the audience in a most gracious manner, thanking us for coming and sharing her excitement about the program she has worked on for over a year with her piano partner, the estimable Carol Wong.  She began the evening with Quatre Chansons de Jeunesse by Claude Debussy manifesting lovely French diction, a great deal of Gallic charm and a wide variation of mood.

Six Songs by Rachmaninoff, Op.38 followed, the last songs that the master ever wrote, composed before he left Russia, settings all of Symbolist poetry.  Ms. Sierra's connection with the material was evident and deep, as she went from the melancholy of "In My Garden at Night" to the frisky  "The Rat-Catcher" and the mystical "A Dream".

The second half of the program explored a more cheerful terrain.  Leonard Bernstein's  La Bonne Cuisine comprises four amusing recipes mistranslated from the French.  Funny indeed!  But it was in the final set of songs by Villa-Lobos that Ms. Sierra let out all the stops; she told of her customary inclusion of songs in Portuguese to celebrate her mother's heritage.  "Cançao do Marinheiro" had many vocal turns that reminded us of flamenco music.  This was followed by a sorrowful lament entitled "Cantilena" which was in turn followed by an amusing "A Gatinha parda" about a lost kitten and the rhythmic haunting "Nhapope".  The closing number was a folk song arranged by Francisco Ernani Braga--a real tongue twister.  As encore we heard Grieg's "Ein Traum" and noted Ms. Sierra's equal skills in German.

This young lady possesses a gorgeous instrument of which she is in complete control.  In the upper register there is plenty of squillo.  We felt our cells vibrating along with the overtones.  The involvement of the rapt audience matched Ms. Sierra's involvement with her material.  One felt invited into her musical world and all the better for it.  We walked home on air!

(c) meche kroop