GERDA LISSNER COMPETITION

 

Pianists Arlene Shrut and Francesco Barfoed, singers Anna Thompson, Finn Sagal, Titus Muzi III, Magdalena Kuzma, Jennifer Robinson, Korin Thomas-Smith, and Ben Reisinger

Last night at Zankel Hall we experienced the most memorable vocal competition winners recital in our memory. For once we were in complete agreement with the judges' choices and were thrilled by the performances. As always, host Midge Woolsey did a great job introducing the singers and giving brief but concise summaries of each song or aria. Collaborative pianists Arlene Shrut and Francesco Barfoed provided sensitive accompaniment tailored to each piece. As icing on the cake, we were treated to a delightful performance by honoree Stephanie Blythe, about which more later--just because we know, Dear Reader, that what you want to read about first is the performances of the young artists.

Out of 400 applicants, 34 finalists were chosen, and we fortunate members of the audience got to hear the top winners of the 2025 Art Song Competition and the 2026 International Vocal Competition. Each and every artist shone, not only in terms of vocal technique and linguistic skills, but also in stage presence. Rarely have we seen so many young artists on the same stage at the same time with each one so totally immersed in the character and the meaning of the text that we scarcely paid attention to technique.

Most arresting was the performance of baritone Finn Sagal who showed several aspects of his dramatic chops with very different songs. How readily he changed from  Schubert's spooky "Der Doppelgänger" to the hilarious "Zipperfly" by Marc Blitztein. (Dear Reader, when is the last time you heard us enjoy an American song?) What a storyteller is Mr. Sagal! The Schubert song gave us chills as the artist built in intensity this somber vignette, making superb use of his lower register.

 

We were so lost in that chilling mood that we almost missed the delicacy of the following "Automne" by Fauré. However, the Blitztein was so engagingly delivered that we were pulled into the humor and actually laughed out loud a few times. We should also mention that Mr. Sagal knows how to use the entire stage in service of the drama.

Also in the art song category were two lovely sopranos with very different vocal qualities. We have reviewed Magdalena Kuzma a number of times, most recently as a winner of the Marcella Sembrich competition, and have always thought of her as a fine artist. Last night she showed off her facility in three languages, giving superb dramatic import to Rachmaninoff's "Son", Wolf's "Die Bekehrte", and Sibelius' "Var det en drom?" Aside from the exquisite interpretations we noticed something very interesting about Ms. Kuzma. She seems to taste the words! There was such relish and appreciation of the flavor of each language!

Jennifer Robinson is an artist with different vocal qualities. She connected so well with Ricky Ian Gordon's "Will There Really Be a Morning?" that we discovered an appreciation for Emily Dickinson's poetry, the words of which were sung with clarity and meaning. Following Joseph Marx's gentle "Nachtgebet" we heard Richard Strauss' "Cäcilie" sung with passion--and we confess to loving extravagant emotion, if only onstage.

All three art song winners were accompanied by Mr. Barfoed and for the succeeding opera winners, Ms. Shrut took over. It's been quite a while since we heard tenor Ben Reisinger. The first time was at least seven years ago in Martina Arroyo's Prelude to Performance when he sang a couple of minor baritone roles in Gianni Schicchi. He won an Opera Index award as a baritone and we noted his excellent upper register. And then we heard him in a Joyce Di Donata master class when he was just transitioning to the tenor fach. Ms. Di Donata gave him some pointers about building the intensity of his aria and he seems to have picked it up and run with it, as they say. We loved the way he built "Che gelida manina" from Puccini's La Bohême which he ended with a finely wrought diminuendo.  Even better was "Kuda kuda" from Tchaikovsky's Eugene Onegin. The extroverted Rodolfo became an introspective Lensky and every nuance of his looking death in the face was explored. 

It was time to lighten the mood and baritone Korin Thomas-Smith got the audience laughing with a very funny "Come un'ape ne' giorni d'aprile", Dandini's aria from Rossini's La Cenerentola. Thomas-Smith is a most expressive actor and didn't miss an opportunity to create his character. What a surprise then to hear him give such romantic tenderness and longing to the character of Hérode in Massenet's Herodiade as he sings "Vision fugitive".

Baritone Titus Muzi III  demonstrated dramatic facility in creating the character of Count Almaviva in an aria that reveals his narcissism and pomposity--"Hai gia vinta la causa" from Mozart's Le Nozze di Figaro. The jealous husband Ford got equally authentic treatment in "E sogno o realtà" from Verdi's Falstaff. The way he used his consonants allowed him to express rage without shouting. Every gesture was on point. 

Soprano Anna Thompson closed the program with lavish histrionics portraying two very different women--the seductive courtesan Thaïs of the Massenet opera of the same name in "Dis moi que je suis belle" and the spirited Rosalinde pretending to be an Hungarian countess in the czardas "Klänge der Heimat" from Johann Strauss' Die Fledermaus. Rosalinde is clearly putting on a show for her wayward husband and Ms. Thompson's extravagant acting made it clear throughout both slow and fast sections.

We will not end before sharing with you a highlight of the evening. Superstar mezzo-soprano Stephanie Blythe, accompanied by the incomparable Warren Jones, enraptured the audience with the same type of duo as we heard from the youthful artists. Two very different songs showed off two different aspects of her dramatic gifts. First was the very first song she ever sang--Brahms' "Wie melodien zieht es mir"--followed by  Cole Porter's  very witty "Tale of the Oyster".

What a glorious evening. We have come to have very high expectations of these annual Gerda Lissner Competition recitals but this one exceeded our expectations! Judging by the reaction of the audience we were not alone. How wonderful that one woman's legacy has affected so many young singers at the beginning stages of their careers by providing financial support and exposure. If only we could let her know!

© meche kroop

A GIFT FROM UPSTATE

 

Kayo Iwama, Ryan MacEvoy McCullough, Evan Katsefes, Michael Adams, Benjamin Truncale, and Leonor Vasconcelos

Having focused for so many years on Manhattan's three music conservatories, it was enlightening to see how much talent there is coming from upstate--Bard College Conseservatory of Music to be exact. Thanks to the Gerda Lissner Young Artist Showcase, we were privileged to be in the studio audience at The Greene Space of  WQXR for a most engaging recital.

As the recital progressed we noticed that all the students of the Bard College Vocal Arts Program shared a number of features in common. All of them had an admirable facility for language and all of them were so expressive that our attention was riveted throughout. We heard four of the advanced students in the program (two sopranos and two tenors) and a highly successful graduate, not to mention renowned mezzo-soprano Stephanie Blythe who, as artistic director, seems to be getting enormous rewards from guiding young singers--a pleasure we fully understand. 

There was quite a lot of French mélodie on the program and every one of the young artists conveyed a fine understanding of the Gallic style--a gentleness and subtlety, a delicacy that matches the sentiments of the poetry. Our favorite of this group was Pauline Viardot's appropriately titled "Havanaise" performed by Leonor Vasconcelos who switched easily from the legato slow section to a spirited fast section marked by bel canto style fioritura. Ms. Vasconcelos has an animated stage presence and made generous use of facial expression and gesture to tell the story. We were enchanted.

Similarly, soprano Michael Adams evinced great depth of feeling and a delicate vibrato in her performance of Fauré's "C'est l'extase", evoking images of nature and romance at once.

Soprano Lucy Fitz Gibbon, a graduate of Bard's Vocal Arts Program, introduced us to a pair of songs by Adela Maddison, a student of Fauré heretofore unknown to us; we do love discovering "new" music (new to us) much more than we appreciate "New Music" (recently composed). As Ms. Fitz Gibbon introduced the work, one could tell how invested she is in such discoveries and how personal is her investment. We are ill equipped to place value on a composition but we can say that the music and its performance did not pale in comparison with the rest of the songs. We felt as if we shared in the singer's discovery.

Benjamin Truncale gave a lovely performance of Duparc's "L'invitation au voyage", evincing ample vocal coloration and dynamic variation in setting the sensual mood of Baudelaire's text. We observed that his gestures were non specific and he was telling the story vocally, unlike the women who used specific gestures to amplify the storytelling.

Tenor Evan Katsefes moved easily from the fine French of Fauré's "L'hiver a cesse" to the German text of Hermann Alllmers "Feldeinsamkeit" which had been set by Brahm's a few years earlier. It was an interesting exercise on Ives' part but we prefer the Brahms.  He also moved easily into the English of Florence Price's. "Hold Fast to Dreams".

There were many more treasures in the generous program but let us move on to the surprising ending which took us into the world of 20th century German kabarett. Ms. Vasconcelas  demonstrated a great facility for cabaret in her performance of a very early Schoenberg song called "Gigerlette". This was so charming we wished that Schoenberg had never gone on to give birth to the 12-tone system!

Ms. Fitz Gibbon performed Kurt Weill's "Berlin im Licht" and Ms. Blythe, whose dusky mezzo is perfect for German, gave us a jazzy arrangement (by Ryan MacEvoy McCullough who accompanied her) of Holländer's "Wenn ich mir was wünschen dürfte". It was a gloriously expressive performance, somewhat marred however by the presence of the loathed music stand.

It is clear that the vocal training at Bard emphasizes the text and the singers appear to have done their own translations.  The motto seems to be "speak it before you sing it" which seems to be responsible for the excellent performances which gave us such pleasure. The superb piano accompanists for the evening were Kayo Iwama and Mr. McCullough. Bravi tutti!

© meche kroop

TRANSITIONS

Blythely Oratonio (alias Stephanie Blythe)
photo by Steven Pisano-courtesy of Opera Philadelphia

We will never forget the first time we heard Stephanie Blythe. It was at the Santa Fe Opera in 2002 when she sang Isabella in Rossini's L'Italiana in Algeri and the audience went wild when, in a miracle of stagecraft, she appeared to arrive in a turn-of-the-20th c. Wright Flyer. We were hooked by her larger than life stage presence and her magnificent instrument.

Thursday the indomitable Ms. Blythe appeared in different guise but still wowing us with her presence and her pipes, although this time the pipes were miked. As part of the American Songbook Series of Lincoln Center, Ms. Blythe appeared as her alter ego--Blythely Oratonio whose costume beggars description but can be appreciated in the photo above. Mr. Oratonio sipped a drink from a quart-sized martini glass and mopped his brow with a large white handkerchief. He gently poked fun of opera to the delight of the audience. 

As one might expect, of the various genres of music being offered, we responded most enthusiastically to his "Nessun dorma" and "Tu sei Pagliaccio", not to mention "Recondita l'harmonia". Arias were interspersed with popular music, music with which we confess to being unfamiliar but which certainly struck a chord with the audience, to coin a phrase. Music Director Drew Wutke managed to mingle Verdi, Puccini, and Queen! He also did a knockout version of Chopin's Prelude in E minor, Op.28 No.4, the death-like imagery of which perfectly suited the message at the end of the program.

On our way to the performance, a friend asked us why Ms. Blythe would want to appear in beard and moustache, singing tenor songs. My answer was based on the secret pleasure we have had singing tenor arias in the shower. Show me a mezzo-- a fach well known for playing second fiddle to the soprano so to speak--who hasn't wanted to sing a starring role, be it soprano or tenor!

But as the evening went by and we listened to the clever script of Co-Writer and Director John Jarboe, we realized that Ms. Blythe had more important fish to fry. The theme for this compelling program was that of transitioning. That word is being heard more and more these days as increasing numbers of individuals are choosing to live as a different gender than that with which they were born, or refusing being put into any gender category. People are freely insisting on being called by their gender of preference or using "they, them, and theirs".

But there are even more transitions of which we need to be made aware. As we go through life we age. We can no longer do the same things we did before. This is particularly true in ballet and opera, but it is also true for civilians. Sometimes we have to accept the death of what was (and that's where the Chopin Prelude came in) and welcome what is. 

Early in the program, Ms. Blythe sang Queen's  "I Want to Break Free" and indeed she did. Later she sang Sondheim's "Send in the Clowns", adding a bit of pathos. We don't know what percentage of the audience comprised her opera fans and what percentage were subscribers to American Songbook. But everyone had a splendid time and left smiling. We, on the other hand, left thoughtful. We know all about changing and moving on from a personal perspective but this was the first time we became aware of it from an artist's perspective and felt grateful for the insight.  It's true that a little bit of humor makes the medicine go down!

Additional credit must be given to Daniel Kazemi for his fine arrangements and the band, which comprised Mr. Wutke with Jimmy Coleman providing the percussion, Mike Ian on guitar and Andrew Nelson on bass.

The extravagant costumes were designed by Machine Dazzle with Rebecca Kanach.

Other performers were called "Birdies"--Messapotamia Lefae and Sav Souza. Yet others were called "Flowers"--Hailey McAvoy and Margaret Tigue who sang "Döme épais" from Leo Délibes' Lakme and "Belle nuit" from Offenbach's Contes d'Hoffman.

We love the idea of breaking boundaries! The show took "breeches roles" into a new dimension.

© meche kroop

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

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

AN OPERA IS AN OPERA IS AN OPERA

Cast and Production Team of Ricky Ian Gordon's 27 at New York City Center
(photo by Erin Baiano)

Regular readers will be shocked to learn that we have seen a new opera and enjoyed it.  We have about given up on hearing a new opera that has melodic arias.  That just isn’t going to come out of the 21st c., especially not in the English language. What we have been seeing are “plays with music”.  But the music has been mostly unmusical. Last night we saw and heard an opera in which many positive factors came together to produce an absorbing and enlightening experience. 27 was commissioned by The Opera Theater of Saint Louis in 2014. This New York premiere included a new expanded choral section written just for Master Voices.

Composer Ricky Ian Gordon chose a subject dear to his heart, a subject that inspired him, the life of Gertrude Stein, the renowned writer, poet and art collector, a major influence in the worlds of art and literature.  He avoided the trap of trying to set her texts to music as Virgil Thompson did.  Instead he chose librettist  Royce Vavrek who constructed a conversational libretto of short uncomplicated phrases that did what the English language does best. There was sufficient repetition of phrases to bind the work together in a manner that was reflective of, but not imitative of Gertrude Stein’s writing style. 

Several successive periods of Ms. Stein’s life were illustrated—a creative life that spanned two World Wars.  The theme running through all these epochs was her relationship with the incredibly devoted Alice B. Toklas who performed innumerable functions including emotional and practical support. Their love story takes center stage.

The earliest period illuminated her involvement with young painters like Pablo Picasso and Henri Matisse; then we visited her salon during the privations of World War I when food and coal were hard to come by. Next we witnessed the post-WWI period of "the lost generation" when her salon was visited predominantly by young writers—“Scotty” Fitzgerald and Ernest Hemingway. Finally we visited her during WWII when her political affiliations were suspect.

Mr. Gordon’s music was powerful when it needed to be and gentle when called for. The romantic duets for Ms. Stein and Ms. Toklas were beautifully written as were the ensembles. The music for wartime utilized percussion to evoke the bombing of the Luxembourg Gardens and the anxiety of those Parisians enduring it.

In addition to the compelling story and the exciting music, the casting of the singers and their performances were extraordinary.  As Ms. Stein, mezzo-soprano Stephanie Blythe’s larger than life performance perfectly suited the larger than life character of Ms. Stein. The deep and muscular timbre of her voice and her acting had us believing that she was the ghost of Ms. Stein right there on the stage of New York City Center.

Soprano Heidi Stober perfectly portrayed helpmate and wife Alice B. Toklas.  The opera opens with her alone, after Ms. Stein’s death, knitting a bulky garment, knitting up the scenes of their life together. The opera ends at the same place—a superb framing device letting us experience the memories along with her.  Ms. Stober’s bright soprano was perfect for the part and blended beautifully with Ms. Blythe’s.

The other characters in the opera were portrayed by three fine artists for whom we have nothing but praise.  Tenor Theo Lebow was effective as the timid and bibulous Scott Fitzgerald-- but he was absolutely remarkable as the young Picasso. Thanks to the imaginative costuming of James Schuette, he entered dressed as a matador wearing the head of a bull.

Baritone Tobias Greenhalgh gave an excellent portrayal of the photographer Man Ray but was most impressive as Ms. Stein’s brother Leo who strutted around in an enormous raccoon coat, denigrating his sister’s salon and choice of paintings.

Bass-baritone Daniel Brevik impressed as Matisse and later as Hemingway, dragging an elephant behind him.  Oh yes, did we mention that the work was salted with a great deal of humor?

The funniest scene of the opera involved the “wives of geniuses” who bored Ms. Toklas with their talk of perfume, hats, and furs. Just imagine if you can, these three highly masculine singers in drag, singing an unforgettably clever trio.

A trio of soldiers, portrayed by the aforementioned Mr. Lebow, Mr. Greenhalgh, and Mr. Brevik appeared in various scenes together. Their voices harmonized so incredibly well. Their working so well as an ensemble is understandable, given that they portrayed the same roles at the St. Louis premiere.

The set design by Allen Moyer had a great big “27” to indicate  the address on Rue de Fleurus where all the famous and soon-to-be-famous gathered. The stage was littered with paintings and some chairs. 

Ted Sperling, Artistic Director, conducted the Orchestra of St. Luke’s and Master Voices. It is well worth mentioning that the diction of this enormous chorus was so crisp that not a single word was lost. Although there were projected titles, they were superfluous. Everyone’s diction was beyond reproach.

The production was well directed by James Robinson.

Every element worked together to produce a memorable evening about which we had a surprising thought—“I’d see this one again”. We have yet to feel such enthusiasm for a contemporary work.  Our eyes and ears have been opened.

(c) meche kroop

STEPHANIE BLYTHE MASTER CLASS at JUILLIARD

Stephanie Blythe

Stephanie Blythe is our hero, or heroine, if you will. You may know her as the highly acclaimed mezzo-soprano, but she is also an acclaimed master teacher.  Her direct "no nonsense" approach to teaching never fails to offer the student useful pointers. The proof of the pudding is the change one hears in the half-hour allotted to each student.

What is remarkable about the audience is how supportive they are, partly mirroring her supportive attitude and partly reflective of the overall mood we have noticed within Juilliard's Vocal Arts Department.

Each of yesterday's participants has a special vocal quality that Ms. Blythe never failed to praise.  But she made the point that a beautiful sound is not enough; she points the student toward maximum artistry and connection with the audience.  This artistry does not come from histrionics but from simplicity and understanding of the text.

Two of the composers represented in the program were present in the audience.  We wondered what the young singers felt.  Probably a lot of excitement and some additional pressure.  They didn't seem to show any anxiety however. The singers were apparently encouraged to choose their own songs. Each one had prepared by intensely studying the text--extremely important in art song performance.

First on the program was bass-baritone Cody Quattlebaum who performed John Musto's setting of James Loughlin's "Rome: In the Café" from the cycle Viva Sweet Love. Mr. Quattlebaum clearly had spent time with the text and we particularly enjoyed his reading of it. There is a haunting mystery about the subject observing a woman in a café and the drama of her daily appearance to meet a man who attempts to console her as she weeps.

Mr. Quattlebaum was rather eloquent as he described his learning the text and his thoughts about it.  Ms. Blythe coached him on spinning the tone, even on the shortest notes, advice we would hear again and again. As we keep hearing, it is the BREATH that connects the notes.  Ms. Blythe spoke about string instruments and bowing, a useful metaphor indeed; phrases must have direction.

As the possessor of a low voice, Ms. Blythe had some special tips for Mr. Quattlebaum and also for mezzo-soprano Kelsey Lauritano who followed with Ricky Ian Gordon's  "X" from the cycle Late Afternoon.  There was no doubt that Ms. Lauritano has a deep feeling for Jean Valentine's text about a brother who died of AIDS and parents who didn't want his name on the AIDS quilt; she had found the cycle herself and chose to learn the song.

Her coaching involved allowing a bit more head voice in the mix to carry the sound. She was asked to sing the song with intimacy and simplicity. We have never heard it put this way before but we loved the concept that eye contact creates an active audience.

Tenor Matthew Swensen performed "The Lake Isle of Innisfree",  Ben Moore's setting of a text by William Butler Yeats.  He sang it with the most beautiful sound which Ms. Blythe praised--but she wanted him to look at the audience more and connect. She initiated a valuable discussion of rubato and the "give and take" which that score marking indicates; the singer must take time here to take us to the place of tranquility of which Yeats wrote.

She further advised more attention to the dynamic markings of the song.  Other points included smiling with the heart instead of the mouth and not furrowing the brow. There was a valuable trick offered--running a piece of Scotch tape across the brow so that one can be made aware of this bad habit and correct it.  Now that's something everyone can try!

The final entry on the program was soprano Julia Wolcott's performance of "Orinda Upon Little Hector Philips" from Ben Moore's cycle So Free Am I. The sad text by 17th c. poet Katherine Philips is a eulogy to her babe who died. The text is difficult to speak, let alone to sing--especially at the upper register of the soprano range. 

We loved the sound of Ms. Wolcott's voice but had to look up the text online. Ms. Blythe's coaching was, of course, to pay more attention to enunciating the text! There was also the suggestion to use less histrionics. 

There was more discussion of vibration and taking time to spin the tone, especially on the short notes--and where did we hear that advice before! When taking a breath, the singer should maintain the space of the prior phrase--all great advice.

Pianists for the master class were excellent: Michal Biel, Katelan Terrell, and Adam Rothenberg.

Ms. Blythe is a champion of contemporary music, of which we are not.  When she summed up the afternoon she expressed her belief that music recently written speaks to us today. It has not so far spoken to us, however!  Yet we acknowledge that what we heard today was more successful at reaching us.  We think of it as perhaps a whisper that may grow in volume as in Rossini's "La calunnia" sung by Don Basilio in Il barbiere di Siviglia.

It was a truly valuable experience, for the audience as well as for the singers. Ms. Blythe stressed the fact that singers could try out what she offered and "take it or leave it".  We hope they will take it!

(c) meche kroop

A TRIO OF MASTER TEACHERS

Marilyn Horne (photo by Henry Grossman)

Stephanie Blythe (photo by Chris Lee)

Sir Thomas Allen (photo by Sussie Ahlburg)

Every master teacher has his/her own style and, almost always, has something worthwhile to contribute to the young singer's artistry. It is next to impossible to say that one is "better" than another; one can only say that the master teacher's style is a good or poor match with a particular student.  That being said, it does seem as if the very best master teachers don't dispense "boilerplate" but rather address each student's unique skill set or lack thereof.

Earlier this month we had the opportunity to sit in on a few of Joyce DiDonato's master classes (reviews archived) and were very impressed.  This week we were privileged to witness three more master teachers, two of whom we have observed on prior occasions and one whose teaching style was new to us.

Sir Thomas Allen taught on Tuesday. Sir Thomas indulged his veddy veddy British sense of humor and kept the audience in a state of entertainment. He was fortunate to have four excellent singers and four superb collaborative pianists with whom to work. The term "collaborative pianist" was itself a source of amusement since Sir Thomas pointed out that they were formerly called "accompanists". We ourselves do not find the newer term to be "more PC" but rather more descriptive of their role.)

Sir Thomas had some valuable things to say to soprano Michelle Price and also to Collaborative Pianist (let us just say CP from hereon out) Michal Biel, whom he urged to begin Strauss' "Cäcilie" more forcefully.  He encouraged Ms. Price to take her time, to smile and to keep her eyes lively, to clean up the word endings, and to create one long line by not observing the rests. He worked quite a bit on the triplets, telling her to anticipate them.  But above all, he urged her to read poetry and to learn to paint a picture with words.

Tenor Kevin Gino performed Liszt's "Pace non trovo" with CP Nathan Harris. He instructed Mr. Gino to find an image to inform each phrase, to make good use of the consonants, and to differentiate between the recit-like introductory stanza and the long cantilena lines to follow. He urged the singer to say something specific with the cadenza.

Soprano Capucine Daumas  performed Debussy's "Apparition" with CP Alden Gatt. This song is an ethereal one and both artists were urged to creata a gauzy shimmery texture. Ms. Daumas needed to reduce the amount of effort she was putting forth and to minimize the degree of openness of the jaw.

Baritone Ryan Thorn sang Schubert's "Der Wanderer" with CP Andrew Sun. Certain features of his presentation were immediately improved as he was instructed to keep his eyes open and to allow his posture to express the weariness and yearning in the text. Again we heard the advice to practice speaking the poetry, allowing it to be informed by the music.

Overall, we got the impression that in singing art songs, attention must be paid to the text by reading it and re-reading it. We were to hear this refrain again from Stephanie Blythe the following night. And it is a refrain worth listening to! We are willing to bet that Ms. Craft, whose Spotlight Recital we so enjoyed, spent a lot of time studying the texts of the songs on her program!

The same four CP's played for Ms. Blythe's class and impressed us with their adaptability. Michal Biel played for soprano Dru Daniels who sang Schubert's "Die junge Nonne". Ms. Blythe's style is completely different from Sir Thomas' but marvelously effective.  She is effusive in her praise of each student, generally admiring their instrument but modestly proffering "one person's opinion" on interpretation. For example, she loved Ms. Daniels' vibrato and choice of song and encouraged her to seek coloratura roles.

She humorously pointed out the curse of women's high-heeled shoes and the price the female singer pays in the currency of tension. Ms. Daniels immediately removed her shoes! Great!  Now she could bend her knees and ground herself; she could create a freer tone. She was urged to keep spinning the tone, especially on the repeated notes and to keep renewing the vowels. Just as Sir Thomas did, Ms. Blythe focused on the text.  She had Ms. Daniels recite the poetry over and over in English first and then in German.

Mezzo-soprano Beste Kalender, who followed with CP Nathan Harris, performed Schoenberg's "Shenk mir deinen goldenen Kamm". It was obvious that she had researched the text and had a deep understanding of it. Ms. Blythe again spoke of the importance of an intimate understanding of the poetry.

She indicated an interesting visualization--that of Klimt's painting "The Kiss", in order to convey the rapturous eroticism to the audience. She wants the singer to take the audience on a journey.  She further advised Ms. Kalender to think about intensity rather than volume.

Mezzo Deanna Pauletto and CP Alden Gatt performed "Madrid" by Pauline Viardot, a composer we love and rarely see on recital programs.  This song, although sung in French, captures the unique Spanish flavor we love. Ms. Pauletto was instructed to make the word "Madrid" mean something different each time she sang it. Further instructions were to think of sound as energy and to "let it go".

Also performed was Montsalvatge's "Canción de cuna para dormir a un negrito". The lesson for this song was to focus on the audience not on the floor, to slow the tempo, to maintain a soft warm tone, and to sing with simplicity.

The final student was baritone Benjamin Dickerson who is still an undergraduate at Manhattan School of Music. He profited by some work on his presentation. The singer should never stand squarely facing the audience but should turn his body 45 degrees with one foot facing forward.  As Ms. Blythe put it "The body leads the voice".

She gave him some helpful hints on dealing with tension.  She differentiated between the passive concept of relaxing and the more active choice of releasing. She recommended putting Scotch tape on the forehead to become more aware of the wrinkling. (That could be a helpful hint anyone could try!)

She talked quite a bit about looking at the audience and about the pianist (in this case, Andrew Sun) and singer listening to each other. Her method of coordinating the opening with the piano is the singer assuming the breathing rhythm of the music. This was one point of disagreement between her and Sir Thomas who wants the CP and the singer to be looking at each other quite a bit. We have not yet decided what works best and probably both styles are valid under different circumstances.

Last night's master class was conducted by Marilyn Horne herself whose style is different from the other two. Ms. Horne doesn't get  physical with the students, nor does she lavishly praise their voices. She gets right down to business working on techniques that the student is lacking and she does so with razor-sharp judgment.

The first recipient of Ms. Horne's astuteness was mezzo-soprano Emily D'Angelo who performed the Samuel Barber son "A Nun Takes the Veil", along with CP Nathan Harris. English diction is quite challenging and the suggestion to overdo the enunciation of the consonants was most helpful. Phrasing also came under scrutiny and the extra breaths allowed Ms. D'Angelo to follow the rallentando markings in the score without running out of breath.

There was time left over for the pair to perform Ernest Charles' "When I have sung my songs".  This involved more work on the breathing in order to time the ending of the song.  Extra breaths can be used dramatically.  More time was spent on achieving legato and on bringing some warmth into the song, so different from the Barber song.

The next students were known to us from Juilliard. We are happy to report that the stress of appearing in a master class did not adversely affect the performances of tenor Matthew Swensen and CP Michal Biel.  They too had the opportunity to perform two songs.

First they tackled Strauss' "Die Nacht" which Ms. Horne recommends using as an encore piece when the voice is warmed up. But some deep breathing and increased support helped to establish the called-for long line. This is one of our favorite songs and the two artists successfully conveyed the sense of anxiety and fear of loss.

The second song, Grieg's "En drøm", required more emphasis on the low notes.

The third team to appear was soprano Angela Vallone (also known from Juilliard) with CP Andrew Sun. They began with another lovely Strauss song "Morgen" and Ms. Horne wisely quizzed Ms. Vallone on her interpretive ideas. Clearly, all three master teachers value the importance of the meaning of the text. The song should be sung very slowly with the singer being aware of the pulse, particularly in the notes held across the bar line. Dynamic markings call for a soft and peaceful sound.

Their second song was Schumann's setting of "Kennst du das Land" from Goethe's Wilhelm Meisters Lehrjahre. Ms. Vallone was coached to sing the song as if the 12-year-old Mignon were singing it, to see the world through her eyes and to paint that picture for the audience. She was quite successful at this, to our delight.

The final pair on the program comprised tenor Ian Koziara with CP Alden Gatt. They began with Wagner's "Träume" which seemed a strange choice for this dark-voiced singer who seemed rather baritonal to our ears. He was coached to be less stentorian in his approach--to weave a spell with a soft tone and a slow pace, and to resist the urge to create a crescendo.

It was important for him to learn to support his breath abdominally instead of jutting out his chin.  Schubert's "Erlkönig" seemed to be a much better fit for him and he succeeded admirably in creating the voices of the concerned father and the nastily seductive Erlkönig. It was the plaintive voice of the child that he needed to work on.

Taken separately or together, the three master classes were a valuable learning experience. We tried to imagine what would happen if the same students could be shown singing the same songs for three different master teachers. That would really be something!

(c) meche kroop