THE LICIA ALBANESE-PUCCINI FOUNDATION AWARD RECITAL

Stars of The Licia Albanese-Puccini Foundation Gala onstage at the Rose Theater

The citizens of Planet Opera gathered yesterday for the 42nd Anniversary of The Licia Albanese-Puccini Foundation. It was a stellar celebration with grants being awarded to a stunning selection of young singers—rising stars, every single one of them. The audience at Rose Theater of Lincoln Center was gloriously entertained.  As if that were not enough, honors were distributed to those who have contributed so much to the field of opera.

Sachi Liebersgesell, President of the Foundation, always eloquent, was rendered nearly speechless when given the honor of receiving the kimono worn by Ms. Albanese when she performed the role of Cio-Cio San. Bryan Hymel, winner from 2008 and master of the French repertoire, shared his recollections of Ms. Albanese and received a Distinguished Achievement Award, as did Ailyn Perez, Nadine Sierra, and Mariana Zvetkova.

Ms. Sierra was put onstage at the age of 16 by Ms. Albanese, singing “O mio babino caro”—and if you have already guessed that she performed the same aria yesterday, give yourself a nice pat on the back. Her voice has become richer and more expansive but she has not lost the pure tone and youthful presentation.

Soprano Ailyn Perez treated us to “Io sono l’umile ancella” from Cilea's Adriana Lecouvreur, sung with generous voice and heart, and accompanied by the outstanding Bryan Wagorn.   Ms. Zvetkova gave us a Strauss song with thrilling tone. Both artists revealed anecdotes about Ms. Albanese's effect on their lives.

We were blown away by Lauren Flanigan’s performance as Lady Macbeth. Ms. Flanigan was quite open with the audience about a neurological illness that has damaged her hearing to such an extent that she has been struggling with novel ways to express her creative bent. How she could perform so far beyond excellence is beyond our understanding but she did. Had she not mentioned the deficit we would never have suspected. Let this be a lesson to those who complain about their handicaps; let this be an inspiration to all of us!  

The Lifetime Achievement Award she was given was well earned. Anyone who doesn’t know about her Music and Mentoring House needs to get informed.  Young artists find affordable lodging in Ms. Flanigan’s artistic home, along with socializing with fellow artists, and much needed emotional support.

Every young artist on the program is a star on the rise.  Winners were, as usual, selected from an enormous field.  We were hearing la crème de la crème. Do not look to us for information about the financial awards. We will just tell our readers what struck us according to fach.

Soprano Vanessa Vasquez is winning awards all over the place and deserves every one. Her performance of “Un bel di” from Puccini’s Madama Butterfly was gloriously intense. We were so wrapped up in the mood she created that technique was forgotten; but upon reflection, there is no doubt that she uses this fabulous instrument with attention to all the fine technical aspects.

We are suckers for Puccini and soprano Karen Barraza performed “Tu che di gel sei cinta” from Turandot,  ushering us into Liu’s very soul. Her singing should have melted Turandot’s icy heart on the spot. A third soprano, Tracy Cantin, sang the bittersweet “Chi il bel sogno di Doretta” in fine form.

In the baritone fach, we loved Jared Bybee’s “Vision fugitive” from Massenet’s Hérodiade. We have been hearing quite a bit of Mr. Bybee lately but it is never enough! His creation of a long legato line was masterful and his French is parfait! He was in complete control of tempo and dynamics, both of which he utilized in the service of the aria's changing moods. 

All the baritones were excellent and Norman Garrett could be the Verdi baritone for whom we have been waiting. His “Eri tu che macchiavi quell’anima” from Ballo in Maschera was beautifully proportioned and dramatically expansive.

Kidon Choi did a swell job with “O, Mariya, Mariya!" from Tchaikovsky’s Mazeppa, an opera with which we are unfamiliar. Mr. Choi’s performance made us want to hear the entire opera.

There were two tenors on the program as well. Alasdair Kent swept us along in a wave of Gallic glory in “Fantaisie aux divine mensonges” from Delibes’ Lakme. The flaw we find in most tenors was blissfully absent. Mr. Kent can spin out a delicate thread of pianissimo perfection. There was no tension, no pushing.  Just gorgeously floated tone.

Yet another terrific tenor delighted our ears with his languorous French line; Fanyong Du performed “Je crois entendre encore” from Bizet’s Les Pêcheurss de Perles, having mastered the diminuendo so beautifully that we were holding our breath.

Bass-baritone André Courville created a marvelous marching military man in “Air du tambour major” from Thomas’ Le Cid, another opera with which we need to get better acquainted. His voice is a substantial one and reaches out to grab you gently by the ears. His dramatic presentation adds to the effect.

Finally, we recall several outstanding duets—and we do so love duets! Soprano Maria Natale and tenor Alexander McKissick brought new life to the tender “O soave fanciulla” from Puccini’s La Bohème. There’s a reason certain duets appear over and over again on recital programs. Young artists can put their own stamp on a beloved and familiar work.

In the same fashion, soprano Mia Pafumi and baritone Pawel Konik gave a slightly new sound to “La ci darem la mano” from Mozart’s Don Giovanni—not different enough to upset the balance but different enough in color to make it their own.

Soprano Amber Daniel and mezzo-soprano Samantha Hankey (the only mezzo on the program) sang the familiar duet “Sous le dôme épais” from Lakmé. The impressive part of their performance was that neither held back and we heard a glorious richness of consequent overtones that filled Rose Theater with sound. They must have worked together diligently to make this duet their own.

As usual, the excellent host was Brian Kellow and the versatile accompanists were Arlene Shrut and Jonathan Kelly.

This yearly event is always familiar but ever new, restoring our belief in the future of opera!  Bravissimi tutti!

(c) meche kroop

AN EMBARRASSMENT OF RICHES

George London Foundation Finalists with Nora London--winners all!

The George London Foundationn is a grants program for outstanding young singers from the USA and our neighbor to the north; it was established in 1971 and has, since then, generously given over 300 awards.  Yesterday we witnessed an amazing level of artistry on the stage of an acoustically fine hall in the Morgan Library as the final round of the annual competition took place.  If you missed it, you can purchase a CD from the foundation or watch it streamed at www.georgelondon.org.

Being in the audience meant being treated to a succession of performances-- one gifted young singer after another.  Being one of the judges must have been torture.  How could one pick this one over the other one?  All were superb.  In point of fact, every singer left with a prize, the least of which was a $500 stipend and an Honorable Mention.

Among the seven top prize winners receiving generous grants of $10,000 were bass-baritone Ryan Speedo Green, a gifted artist who sang "Solche hergelaufner Laffen" from Mozart's Die Entführung aus dem Serail; he used his large instrument and fine dramatic instinct to create a very funny character.

Soprano Tracy Cox dazzled with "Dich, teure Halle" from Wagner's Tannhäuser and captured the prize for Wagnerian singing; she has a huge voice that absolutely fills up the room and impressive German diction.

Another fine Wagnerian singer, soprano Marina Harris, impressed by varying the dynamics and colors of her voice as she performed "Einsam in trüben Tagen" from Wagner's Lohengrin.

Canadian baritone Cameron McPhail garnered his prize for "C'est moi, Carlos! C'est mon jour supreme" from Verdi's Don Carlos; he has the lovely legato line required by a Verdi baritone and has excellent French diction.

A deeply felt rendering of "Vision fugitive" from Massenet's Hérodiade won a prize for baritone Norman Garrett who sang in superb French with admirable dynamic control.

Mezzo-soprano Jennifer Johnson Cano, accompanied by her husband, won her prize for "Sein wir wieder gut" from Strauss' Ariadne auf Naxos.  She is already well known onstage at the Metropolitan Opera.

Counter-tenor Ray Chenez won his prize for "Refugee's aria" from J. Dove's Flight, an opera with which we are unfamiliar.  Notably, his English was comprehensible, something we never take for granted.

Here is what struck us from among the winners of $1000 Encouragement Awards: tenor Anthony Kalil's heartfelt and Italianate "Che gelida manina" from Puccini's La Boheme; soprano Elizabeth Sutphen's floated top notes, elegant phrasing and expressiveness in "Ah! Douce enfant" from Massenet's Cendrillon; soprano Rebecca Pedersen's voice with its interesting overtones; bass-baritone Gerard Michael D'Emilio's carefully considered "Se vuol ballare" from Mozaart's Nozze di Figaro in which each repeated phrase offered freshness; baritone Brian Vu's energy and personality in "Largo al factotum" from Rossini's Il barbiere di Siviglia; mezzo Julia Dawson's fine coloratura in the cabaletta of "Tanti affetti" from Rossini's La donna del lago; the polished performance and interesting voice of mezzo Catherine Martin in "O mio Fernando" from Donizetti's La Favorita; and the big voice of bass-baritone Reginald Smith, Jr. who gave a highly dramatic performance of "E sogno, o realtà" from Verdi's Falstaff.

We are also inclined to make mention of some performances that impressed us at the Honorable Mention level: soprano Kiri Deonarine dazzled in "The Bell Song" from Delibes' Lakmé; soprano Courtney Johnson whose exciting voice and excellent French brought new life to "The Jewel Song" from Gounod's Faust; and baritone Jarrett Ott who sang "Look! Through the port" from Britten's Billy Budd and was totally convincing as a man coming to terms with an unjust death sentence.

And we, reader, must come to terms with the facts that not everyone can be first and that everyone hears things differently.  So...no quarrel with the judges who deliberated long and hard.  We heartily congratulate all the participants.  They are all winners in our eyes and ears.

© meche kroop