RICHARD TUCKER DAY, HOORAY!

Bryan Wagorn, Erin Morley, Nicholas Pallesen, Ailyn Perez, Andrew Stenson, Stephen Costello, Anthony Ross Costanzo and Isabel Leonard

Thursday was Richard Tucker Day and New York opera lovers lined up to attend the recital at the Ethical Culture Society; they thronged to the stage afterward to congratulate the group of singers, none of whom were a hair shy of stellar.  All were accompanied by the versatile piano partner Bryan Wagorn.

There are advantages and disadvantages to a program of arias without orchestra.  One might miss the orchestral colors but one has an opportunity to focus on the voice.  The voice, so exposed, had better shine-- and these voices surely did.  The other problem is that the artists must jump into the material without the buildup; they have no sets, no costumes, no stage business to help things along.

Last night's singers succeeded on all accounts.  Tenor Andrew Stenson opened the program with a big bang in Tonio's  famous aria from Donizetti's Fille du Regiment.  He sang it with a clear ringing tenor and an abundance of enthusiasm. The high C's were knocked off with ease and the "money note" at the end was sustained so long and so beautifully that we wondered at what underwater sport Mr. Stenson gained his breath control.

Soprano Wendy Bryn Harmer gave a most moving account of "L'altra notte" from Boito's Mefistofele and an equally impassioned "Tu che di gel sei cinta" from Puccini's Turandot.  Her impressively large voice is never harsh or forced and her characterizations were completely convincing.

Nicholas Pallesen employed his fine baritone as Enrico, showing many sides of his character's mood in "Cruda, funesta smania" from Donizetti's Lucia di Lammermoor.  We heard his anger, his fear and his despair.

Ailyn Perez and Stephen Costello have become the #1 opera couple and we love to see them perform together as they did last night in two duets from Bernstein's West Side Story.  They also performed alone with Mr. Costello's fine tenor enjoying a Broadway/Hollywood break in "Without a Song" and "Be My Love".  Ms. Perez was touching in  "Je dis que rien ne m'epouvante".  She absolutely nailed the faith that keeps Micaela's terror at bay.

Soprano Erin Morley, fresh from her brilliant success in Santa Fe as the titular character in Stravinsky's Le Rossignol, switched from Russian to German and was a complete knockout in selections from Mozart's Die Entfuhrung aus dem Serail--the aria "Marten alle Arten"--and in the duet with Mr. Stenson "Welch ein Geschick!"

Mezzo Isabel Leonard took the deceptively simple lullaby "Cancion de cuna para dormer a un negrito" by Montsalvatge and made such art of it that we were close to tears.  We love her singing whatever but in Spanish she is sensational.  We never knew that gal could tap dance but tap dance she did in an hilarious duet with Anthony Ross Costanzo--"I Got Rhythm" by the Gershwins.  Such fun!

Counter-tenor Mr. Costanzo was also heard in "Venga pur, minacci e frema" from Mozart's Mitridate.  We are extremely fond of Mr. Costanzo's unusual voice.  There aren't many around like him!

All of these sensational artists have been recipients of awards and grants from The Richard Tucker Foundation.  They are all having brilliant careers.  Foundation support is instrumental in getting a career off the ground.  Let's have a big round of applause for the RTF!

© meche kroop

SINGIN' IN THE RAIN

From under the shelter of the Naumberg Bandshell (which we fought so hard to preserve from demolition some time ago) world-famous soprano Renée Fleming introduced seven dazzling young singers who kept the audience in their seats through an hour of rain and some competing cacophony from another recital taking place just behind at Summerstage.  There is no audience more dedicated than the New York opera fan!  The only disappointment of the evening was its brevity; just after the rain abated, the concert, in honor of the late Richard Tucker's 100th Birthday, was cut short without explanation. Everything we did get to hear was like a generous gift and it felt greedy to have wanted the rest of it.

With seven stars from the Tucker firmament, we could not choose the brightest. The Foundation sure knows how to pick 'em; each one had won an award from The Foundation within the past few years.  All of them are living up to their potential.  Accompaniment by Brian Zeger was just as wonderful as one might expect; he has a great instinct for letting the voice shine forth.

Glamor couple soprano Ailyn Pérez and tenor Stephen Costello led off with the love duet from Act I of Verdi's Rigoletto.  He was seductive and she was seduced, falling under the spell of his ringing tenor and bewitching us with her shy glances and clear bright voice.  They made it sound not only easy but spontaneous.

Wendy Bryn Harmer, fresh from the Seattle Ring, gave a soaring account of Carlisle Floyd's "Ain't it a Pretty Night" from Susannah.

Have we heard a better delivery of Mozart's "Dalla sua pace" from Don Giovanni?  We think not!  Tenor Paul Appleby's bright clear tenor and committed delivery were remarkable and San Diego is fortunate to have him playing Don Ottavio in the near future.  It is the perfect role for him.

Coloratura soprano Erin Morley let loose with some impressive singing in the challenging "Doll Song" from Offenbach's Les Contes d'Hoffman.  The devilish upward leaps were astonishingly accurate, even at the very top of the register. Moreover her fine acting garnered giggles from the audience, especially when Maestro Zeger "wound her up".

Bass-baritone Brandon Cedel delivered a fine "Vi ravisso" from Bellini's La Sonnambula.  His gorgeous legato phrasing and evenness throughout the register have surely secured him a place among the group fulfilling their promise.

Mezzo Jamie Barton tackled "Acerba voluttà" from Cilea's Adriana Lecouvreur as if it were a piece of cake.   Her creamy lush voice and intense stage presence were a joy to behold.

Although we love Ms. Perez and Mr. Costello together with their marvelous chemistry and blending of voices, we were also delighted to hear each one in a solo.  Mr. Costello sang "Parmi veder le lagrime" also from Rigoletto and Ms. Perez ended the evening with a passionate rendition of "Ah, fors'e lui" and "Sempre libera" from Verdi's La Traviata.  She employed her thrilling voice and acting skills to demonstrate Violetta's ambivalence about succumbing to romance.  We were totally won over.

Three cheers for The Richard Tucker Music Foundation for supporting young singers with awards and performance opportunities and for enriching New York's cultural life to such a great extent.  The Foundation was set up in 1975 to honor the late Richard Tucker and his memory is being well-served. Contributions to The Foundation are possible on their website.

© meche kroop

HONORING JOAN DORNEMANN

Thanks to the generosity of the Gerda Lissner Foundatiion, helmed by Stephen De Maio, fifty-four promising singers were given grants this year.  Ten of these performed a superb recital at Zankel Hall last night, hosted by Midge Woolsey,    

and honoring Joan Dornemann. 

The plum in the pudding was Wendy Bryn Harmer who won first prize in the Wagner Division and gave a performance of "Du bist der Lenz" from Act I of Wagner's Die Walküre. This beautiful soprano has been seen quite a lot at the Metropolitan Opera this season and has never failed to thrill with her large luscious soprano.  Last night, she made a compelling Sieglinde and we look forward to hearing her in this role in a future Ring Cycle.

First Prize winner tenor Noah Baetge was equally compelling as the Italian Singer who performs at the Marschallin's levee in Der Rosenkavalier.  Long a fan of Mr. Baetge, we were impressed by his generous Italianate sound and diction.  Yet more delicious Italian (yes, when it SOUNDS good, it TASTES good!) came from tenor Michele Angelini, also a First Prize winner, who cut a princely figure in "Si, ritrovarla, io giuro" from Rossini's La Cenerentola.  We especially appreciated the expressive way he used the fioritura in the cabaletta.

Second prize winners were also outstanding.  Soprano Audrey Luna gave Gilda her all in "Caro nome" from Verdi's Rigoletto.  There were some completely thrilling moments when she easily reached her brilliant top notes, not to mention her liquid trill.  Soprano Danielle Pastin was perfectly suited to the emotional "Stridono Lassu" from Leoncavallo's  Pagliacci and gave us a deep appreciation of Nedda's personality.

Baritone Steven Labrie sang "Silvio's Aria" with a great deal of persuasion and lovely phrasing but a rather covered sound.  We wanted to feed him some pasta with lots of garlic!  Tenor Kevin Ray sang one of our favorite Wagnerian arias from Act I of Die Walküre, "Ein Schwert verhiess mir der Vater".  When Mr. Ray let loose with his "Wälse, Wälse" we had goosebumps.

Countertenor Andrey Nemzer sang "Al lampo dell'armi" from Giulio Cesare in fine Handelian style and soprano Jacqueline Echols sang Pamina's aria "Ach ich fühl's" from Mozart's Die Zauberflöte.  She has a lovely bright sound and needs only to relax a bit so that the aria feels more spontaneous.  Bass-baritone Kyle Albertson was convincing with "Dans les rôles d'amoureux langoureux" from Offenbach's Les Contes d'Hoffman.  He has some wonderfully resonant low notes and employed appropriate gestures.

Arlene Schrut did yeoman's duty at the piano and matched herself well to each singer.  We were so grateful for the opportunity to hear all these talented voices and would have happily sat still for the other 44 winners of the Gerda Lissner Foundation's 2012 International Vocal Competition.

(c) meche kroop