ANOTHER LINDEMANN TRIUMPH

Petr Nekoranec, Valeria Polunina, and Hyesang in Lindemann Recital

Let's face it.  The Lindemann Young Artist Development Program gives matchless recitals.  Since 1980 they have discovered and developed the cream of the crop of young opera singers and collaborative pianists. Those fortunate enough to be chosen receive a bounty of instruction, coaching, and performance opportunities. The stages of opera houses worldwide clamor for their talent.

Yesterday's recital at the Bruno Walter Auditorium exceeded greatness. It lasted but 75 minutes but the after effects are still with us. A recital like this can leave you totally satisfied, yet wishing it had gone on and on.  Like champagne, even when you've had enough, you still want more!

What impressed us most about these young artists was how distinctive their voices are.  So many tenors and sopranos of today sound alike; it's a special pleasure to hear voices that have unique qualities.

The appropriately named soprano Hyesang Park opened the program with a pair of songs by Purcell--"Music for a While" from Oedipus and "Sweeter than Roses" from Pausanias. This 17th c. British titan knew how to pair text and music; Ms. Park's bright tone produces a visceral effect; we could feel the bones of our middle ear vibrating and tingling.  What an incredible sensation! It is particularly pronounced in the penetrating upper register.

Her English is so perfect that we missed nary a word. Perhaps some credit must go to Patricia Brandt's coaching in English. Not only was the enunciation clear but the meaning behind the words was emphasized by astute vocal coloration. The word "cool" indeed had a chilly sound and "trembling" literally trembled. Ms. Park's expressive face matched her expressive voice such that we really understood the songs. 

Purcell wrote some gorgeous melismas that took on the character of vocalises. The vocal fireworks of the fast section were exciting as could be.  It was great to hear this artist go from legato lyricism to rapid-fire embellishments.

Five songs by Clara Schumann followed, which involved some warm colors of regret and nostalgia. Rückert's romantic text "Liebst du um Schönheit" was set by her long before Mahler set it. We have always loved Mahler's setting but there is no reason to overlook Clara Schumann's version. Clara's style is not so different from her husband's and we hear the same attention to a singable vocal line and wonderful piano writing.

Collaborative pianist Valeria Polunina created quite a storm in "Er ist gekommen" and some delightful echoing effects in "Das ist ein Tag".

The program also included a charming pair of songs by Reynaldo Hahn who managed to keep melody alive into the 20th c.! "A Chloris" and "L'Enamourée" are graceful songs and Ms. Park sang them simply, creating a dreamlike mood. The effect was that of letting the songs speak for themselves.

Tenor Petr Nekoranec has an equally distinctive sound; we don't know how to describe it except "texture". It sounds rich and multidimensional. The last time we heard Mr. Nekoranec we loved his voice but not the material. Yesterday we were over the moon about his choice of material. Antonín Dvorák wrote his Gypsy Songs in German and that is how we have always heard them.

However, the composer reset them in Czech and we were amazed at the beautiful sound of the language and how well it integrated with the text. Singing in his native tongue permitted Mr. Nekoranec to immerse himself totally in the many moods of Roma life from wild abandon to deep sorrow. The work fits him like a suit of bespoke clothing. His colorful personality emerged as he gave his all.

We also enjoyed Six Romances, Op. 38 by Rachmaninoff. The partnership between him and Ms. Polunina was particularly striking.  "The Daisies" gives the piano score some lacy filigree whereas "The Pied Piper" has a frisky quality that Mr. Nekoranec augmented with his lively personality. The haunting piano line of "A-u!" brought this superb recital to a memorable close.

We longed for an encore but there was none. We kept wondering what these two unique voices would sound like in a duet. Well, now we have something to anticipate for the future.

(c) meche kroop

SINGIN' IN THE RAIN

Dan Saunders Petr Nekoranec, So Young Park, and Hyung Yun

Under each umbrella in Jackie Robinson Park was an opera lover, thrilling to a perfectly chosen program performed by three magnificent voices, accompanied by Dan Saunders on the piano. Everything on the program was a "war horse" but the performances were unique and freshly interpreted.

Having a scintillating soprano, a terrific tenor, and a brilliant baritone on hand permitted a splendid selection of arias and duets. The threatening weather might have discouraged some folks from attending but we would risk life and limb, let alone a little rain, to hear three such major talents share their artistry. We brought our own little group to share in the fun and all agreed that it was worth getting wet. No one shrank. No one faded. The threatened thunderstorm did not ruin our pleasure. Good old Thor decided to spare us.

We've only heard tenor Petr Nekoranec a couple times but he has made a strong impression on us with the sweet timbre of his instrument, which lends itself beautifully to the bel canto repertory.  His technique is flawless and his execution of the challenging showpiece "Ah! Mes amis...Pour mon ame" could not have been better. Aside from his musicality, he has the ability to create a character one cares about. Donizetti's La Fille du Regiment only works when you really want Tonio to win the love of Marie and overcome the obstacles of nationality and social class.

Similarly, one must have affection for Nemorino and root for him to win Adina's hand in Donizetti's other delightful comedy L'Elisir d'Amore. Last night, he proved himself to be a superb scene partner with soprano So Young Park in "Caro Elisir! Sei mio!...Esulti pur la barbara" First we laugh at his ignorance as he swigs from the wine bottle and develops "Dutch courage", acting careless and indifferent to Adina. But he has won our heart and we want him to win Adina's as well.

When Mr. Nekoranec's Nemorino gets around to singing "Una furtiva lagrima" we are cheering him on and never comparing his performance to anyone else's. The fine vibrato of his voice was effectively employed with a new shade of joyful anticipation. No doubt the stunning arpeggio toward the climax, the subtle portamento, and the carefully modulated dynamics were well thought out but everything sounded organically spontaneous.

Nadir's lovesick aria from Act I of Bizet's Les Pecheurs de Perles, "Je crois entendre encore" was sung movingly with fine French phrasing and some floated high notes that seemed to hang in the air for a long time. The final note was spun out into a delicate thread of sound. Incredibly gorgeous!

From the same opera, the famous duet  "Au fond du temple saint", was performed with the impressive baritone Hyung Yun. It  gave the two artists an opportunity to produce harmonies that were beyond beautiful. Moreover, you could accept that Nadir and Zurga were both friends and rivals, thanks to some excellent acting.

Mr. Yun impressed us with his versatility. He did justice to the "Toreador Song" from Bizet's Carmen by filling the verses with more subtle variations of color than we usually hear. We liked his interpretation far more than the usual bombastic one. Escamillo became, for us, a real person, not just a rival for Carmen's affection.

Just consider how differently he came across in the elegiac "O du, mein holder Abendstern".  We never want to hear anyone tell us that German is not a beautiful language! Wagner's exquisite poetry and Mr. Yun's soulful singing drew us into Wolfram's world and made us want to hear Tannhauser again as soon as possible.

In yet another demonstration of versatility, he performed "Cortigiani vil razza dannata" from Verdi's Rigoletto. This aria requires the baritone to be vicious at first toward the members of the court who abducted his dear daughter, then to become contrite and beg them for information. We needed no limp or padding on the shoulder to understand the deformed character of the poor hunchbacked court jester. It was a gripping performance.

Yet another manifestation of versatility had Mr. Yun enacting the role of Don Giovanni trying to seduce Zerlina in the Mozart opera of the same name. We saw and heard him becoming increasingly forceful until his prey was secured.  Another impressive performance to add to the list.!  Zerlina was sung by soprano So Young Park who did her best to resist the irresistible.

Ms. Park shone in a couple of challenging arias. Adele's "Laughing Song" from Johann Strauss' Die Fledermaus, "Mein Herr Marquis" showed off the singer's bright voice, charming personality, and skilled coloratura technique.

Similarly, she was excellent in "Les oiseaux dans la charmille", Olympia's song from Offenbach's Les Contes d'Hoffman. This challenging song requires extraordinary flexibility in the voice combined with rigid mechanical movements of the body. This must be like patting your head and rubbing your stomach simultaneously!  Ms. Park was completely convincing.

Moreover, she showed an entirely different side of her artistry in Musetta's aria "Quando m'en vo" from Puccini's La Boheme. In this aria, Musetta has to feign indifference to her on-again off-again lover Marcello while letting the audience know that she really wants him back. We loved the way she performed it. 

After all that very special entertainment, each artist offered an encore in a more popular vein; what we would call American classics. Ms. Park sang "I Could Have Danced All Night" from Lerner and Loew's My Fair Lady in a most winning manner. Mr. Nekoranec sang "Be My Love" and we'd be surprised if there were a woman in the audience not ready to comply!

 Mr. Yun sang "Some Enchanted Evening" from Rodgers and Hammerstein's South Pacific, and that just about summed up our experience, an enchanted evening indeed. The wonderful arrangements of these songs were created by Dan Saunders who added so much to the evening's success.

The Metropolitan Opera must be appreciated for bringing opera to all five boroughs and making it available free of charge. Had this been our first exposure to opera we would have been a convert for life.

(c) meche kroop

LEND ME A TENOR

Dan Saunders, Susanna Phillips, Elizabeth DeShong, and Petr Nekoranec

What to do when the star tenor has taken ill? Just raid the ranks of The Lindemann Program and create a new star tenor! 

Our disappointment at missing Stephen Costello last night at The Metropolitan Opera's Summer Recital Series evaporated 5 seconds into Petr Nekoranec's performance of "La Donna e mobile" from Verdi's Rigoletto. This young tenor is a stage animal with an appealing presence and a thrilling sound. It is quite difficult to evaluate an amplified voice in an outdoor venue although we admit that the sound was as good as could be expected.

We had only the briefest introduction to Mr. Nekoranec last Spring at a Lindemann recital when we loved his voice but not the material.

We could tell that he knows how to use his vocal assets to good advantage and has great skill with the three languages in which he sang, that he modulates his phrases effectively, and knows exactly how to shape a decrescendo. If he holds onto the "money note" a bit too long you will not hear a word of complaint from us.

We will want to hear him unamplified to learn whether the gorgeous timbre and vibrato impress us as much as it did last night. Likewise we will withhold judgment regarding his suitability for Verdi, which sounded just fine with amplification. But we have no doubt that his bel canto technique is perfectly suited for any type of ornamentation.

In "Ah! Mes amis...Pour mon ame" from Donizetti's La Fille du Regiment, he delivered all the high C's without strain, all the while conveying the youthful enthusiasm and excitement of Tonio as he realizes he has won Marie's love. He has a real feel for French and the long luxurious lines of "Je crois entendre encore" from Bizet's Les pecheurs de perles were exquisite. His diction was so fine that we understood every word.

He also gave a stirring account of Agustin Lara's 1932 song "Granada", and a charming performance of the strophic aria "Au mont Ida, trois Deesses" from Offenbach's La Belle Helene. 

Moreover, he "plays well with others", creating the charming Act II "Cherry Duet" from  Mascagni's L'Amico Fritz with soprano Susanna Phillips as his Suzel--and also with the Act I meeting between Rodolfo and Ms. Phillips' Mimi from Puccini's La Boheme. Of course, he had a sensational Mimi/Suzel to work with!  We confess to being a bit star-struck by this splendid soprano and have preferred her Mozart characters to many others'. 

Her "Summertime" from Gershwin's Porgy and Bess showed off her gleaming upper register and the portamenti were absolutely stunning. But when she got to "Come scoglio" from Mozart's Cosi fan tutte we realized once again how this artist comes across best when there is a dramatic situation to illuminate. Not only was she astonishing in the wide leaps of this challenging aria, but she put her technique in the service of her character Fiordiligi.  This seems a bit trivial but every time she rolled an "r" we got a little thrill. Never too little or too much but just right for the character's personality.

With entirely different colors she performed "Song to the Moon" from Dvorak's Rusalka. Although we don't understand Czech (and we'd love to ask Mr. Nekoranec how it sounded to him) we could appreciate the way the music and the lyrics matched so well. The beauty of her singing and the intensity of her dramatic expression brought tears to our eyes as we considered the unhappy end that comes to those who try to be what they are not.

Ms. Phillips had some outstanding duets with mezzo-soprano Elizabeth DeShong who debuted at the Metropolitan Opera the same year (2008) as Ms, Phillips. Ms. DeShong has a rich texture to her instrument that reminds us of a Guiness--dark, rich, smoky, with a creamy top!  From the Venice act of Offenbach's Les Contes d'Hoffmann, we heard "Belle nuit o nuit d'amour" and cherished the stunning harmonies and barcarolle-type rhythm.

The two voices were equally matched and effectively employed in "Serbami ognor si fido...Alle piu calde immagini" from Rossini's Semiramide. We have never seen this potboiler and are thrilled to learn that we will get our chance next season at The Met when Ms. DeShong will sing Arsace, a warrior who finds himself in an oedipal predicament. (Soprano Angela Meade will fill the title role).

Thankfully, Ms. DeShong will not be confined to trouser roles. Last night she excelled in roles made famous by legendary mezzo-sopranos making comparisons unnecessary. Her "Cruda sorte!", Isabella's aria from Rossini's L"Italiana in Algeri was nothing short of  powerful. The singer's skill with fioritura was employed in the service of the character.

Her versatility as an artist was manifest in "Mon coeur s'ouvre a ta voix" from Saint-Saens's Samson et Dalila. Not only was Samson seduced but so was the audience, yielding to Ms. DeShong's seductive coloring. She was impish in "Nacqui all'affanno e al pianto...Non piu mesta" from Rossini's La Cenerentola, making us wonder what kind of dramatic arc she might create in the entire opera.

Orsini's brindisi "Il segreto per esser felici" from Donizetti's Lucrezia Borgia was given a spirited performance; yet another aspect of her talent was revealed in "Sein wir wieder gut" the Composer's aria from Strauss' Ariadne auf Naxos.

The fireworks onstage far outweighed the discomfort of the sultry weather. It was a highly exciting evening both from the standpoint of relishing the performances of vocal superstars and from the standpoint of witnessing the versatility of an exciting new tenor. There will be five more recitals in this series; folks in every borough should get a chance to enjoy this gift from The Metropolitan Opera and the Department of Cultural Affairs.

Host for the evening was Mary Jo Heath and Dan Saunders provided the superb piano accompaniment.

(c) meche kroop

LINDEMANN RECITAL

Julia Pilant and Petr Nekoranec

For those of you who don't know, the Lindemann Young Artist Development Program was created in 1980 by James Levine to identify and develop extraordinarily talented young singers, coaches, and pianists. Those fortunate enough to get accepted have access to all the resources of The Metropolitan Opera and, since 2010, to Juilliard School as well. These young artists are in demand all over the world, as well as onstage at the Met.

Friday evening was spent at the Bruno Walter Auditorium to enjoy one of their recitals. We went for the voices and the voice that captured our attention first was that of the French horn. We have always loved the sound and getting up close and personal for the first time allowed us to see how vocal an instrument it is and how sensitive. Valves must be removed and drained, for example. To play it is difficult.  To play it well is quite a gift.

The recital opened with Britten's Serenade for Tenor, Horn, and Strings, Op. 31--with nary a string in sight. Apparently someone who was uncredited in the program had arranged it for tenor, horn, and piano. We had no interest in the text but we surely did enjoy the artistry of the performance. The work is moody and elegiac but is punctuated by muted announcements from the horn, which brought the work to life. For the Epilogue, the horn was heard from offstage, a very special moment. 

Petr Nekoranec, in his first year of the Lindemann Young Artist Development Program is the possessor of exactly the type of tenor we most enjoy. It is a sweet sound but with a rich texture; moreover his English diction (thanks to English Instructor Patricia Brandt and coach Jocelyn Dueck) is exemplary and puts to shame that of native American speakers. We enjoyed the melismatic passages of the Sonnet movement.

Giuseppe Mentuccia's piano wove together the voice and the horn and the entire work was well-balanced. We are looking forward to hearing Mr. Nekoranec sing a work in which we can appreciate the unique qualities of his voice. We imagine that Dvorak's songs would be lovely. 

The program for this recital was a challenging one, both for the artists and the audience. We are sure there were people in the hall who enjoy Olivier Messiaen but we are not among them. There are works that grow on you with repeated exposure and there are works that never capture one's affection. Poemes pour Mi are in the latter category.

That being said, The composer's sincerity was matched by the equally sincere performance of soprano Clarissa Lyons. She sang with fine French diction  and made sense of the text which she had translated herself. Fortunately she appeared later in the program singing Joseph Haydn's concert aria "Berenice che fai", a passionate work with different colors in each section. Her voice is well centered from top to bottom and beautifully phrased. It was altogether a polished performance with excellent support from pianist Valeriya Polunina who has a delicate touch.

The third pair of artists on the program comprised tenor Ian Koziara with pianist Zalman Kelber. Uh oh! More Britten! On This Island is another work we are not adding to our hit parade. Mr. Koziara has a large powerful dramatic tenor with plenty of strength in the lower register. We would have liked to hear him sing some Verdi. Mr. Kelber's piano was insistent in "Now the leaves are falling fast" and gently rippling in "Seascape".  Perhaps "Nocturne" had the loveliest melody.

As far as 20th c. music goes, Frank Bridge's setting of Mary Coleridge's "Love went a-riding" was unusually accessible and pleasing to the ear.  For Wagner's "Traume", one of the Wesendonck Lieder, we would have preferred a lighter vocal touch. There is plenty of Wagner more suited to such a hearty voice.

(c) meche kroop