OLE!

Sharon Isbin and Isabel Leonard

Last night at Zankel Hall, two world-renowned artists graced the stage and demonstrated all the magic of Spanish music.  If you came for emotion, you got it.  If you came for gorgeous sound, you got it.  If you came to feel the multi-cultural aspect of music from Spain, you got it.  If you came for glamour, you got it. 

As we have pointed out, Spain is geographically part of Europe. Almost. Sharing a border with the south of France, it juts out into the Atlantic, almost kissing Morocco. Spain is culturally its own, with strong influences from N. Africa dating back to the period of Moorish domination.

Much of the music coming out of Spain in the 19th and 20th c. bears echoes of flamenco.  It is surprising but much of the music we associate with guitar was originally written for the piano.

We have often written about zarzuela, the Spanish version of operetta, but last night's recital contained no arias, only art songs written by Spain's best composers. The recital was unique in that there was no collaborative piano, rather a collaborative guitar played by the world class guitarist Sharon Isbin who seemed to breathe in tandem with Ms. Leonard and whose solos astonished us with their virtuosity.

Nothing astonishes us about Isabel Leonard whose spectacular mezzo-soprano sheds magic on whatever she chooses to sing. We have often written about the rich overtones of her voice which lend it a most particular texture. Her stage presence is stunning but accessible and her phrasing always makes artistic sense.

She has a long intense involvement with Spanish music. Let us begin at the end when Ms. Leonard finally discarded the music stand which had impaired our connection for most of the evening.  More on that later.

Manuel de Falla wrote his Siete canciónes populares españolas in the early 20th c.  Ms. Leonard really connected with the audience and used her innate sense of drama to wring every ounce of color and change of mood from the seven songs. We particularly enjoyed the playful "Jota" in which Ms. Leonard conveyed the secret passion of the young lover; Ms. Isbin's guitar contributed the texture.

The intense "Polo" was so deeply felt that we experienced a pain in our very own heart. That's what a song should do for us!

In the remainder of the program, Ms. Leonard used a music stand, even for music which we know she knows well. Judging by the applause which interrupted every set after each and every song, the rest of the audience didn't care.  But we did.

This is our own personal bugaboo. When a singer breaks contact to look down or to turn the page, we feel the fine thread of attachment snap and we then retreat to reading the translation, instead of feeling the connection. The singer may very well be totally involved with the material but not with the audience.  We want to feel what they feel about the song and we lose it.

This deficit was experienced all through the marvelous and varied program. We love Federico Garcia Lorca's Canciónes españolas antiguas, settings of folk songs, strangely presented in two sets separated by two guitar solos. Ms. Leonard is a gifted storyteller and engaged the audience with her easy natural introductions. We particularly enjoyed "Romance de Don Boyso" and "Los mozos de Monléon" which allowed the artist room for a dramatic reading over the voice of the guitar.

Two selections from Xavier Montsalvatge's Canciónes negras, arranged by Ms. Isbin, were performed, of which our favorite was the tender lullaby "Canción de cuna para dormir a un negrito" which our companion found to be racist. (Well, yes, but the De Falla songs are sexist--both products of their time and place and, in our opinion, beyond criticism).

A special treat was a composition by Joaquín Rodrigo. We have long loved his 1939 Concierto de Aranjuez but never knew that he extracted the Adagio and that his wife wrote text for it, a nostalgic piece of poetry in French. Victoria Kamhi was a Sephardic Jew, born in Turkey, and a pianist who gave up her career to assist her blind husband.  So, we don't know why it is in French but we loved Ms. Leonard's French diction.

A contemporary work by the American composer Richard Danielpour was commissioned by Carnegie Hall and saw its première on the program as well. The text is based on the poetry of Rumi, the 13th c. poet whose life story is filled with fascinating detail.

Writing in what was then the Persian Empire, presumably in Farsi, the poet wrote of love and spirituality. Raficq Abdulla's translation, while considered one of the finest, did nothing for us. Perhaps they are more interpretations than translations.  Perhaps they have lost much in the translation.

"Listen" seemed to be shoehorned into rhymed couplets and came across as doggerel which did not scan at all. Although we loved the music as played by Ms. Isbin, it seemed to us that it missed the eroticism of the second two selections--"This Night of Love" and "Your Beauty".

We did find the work far more listenable than most contemporary music, and Ms. Leonard's English diction lacked for nothing. The most musical part was when she sang on the syllable "La"; it probably would have sounded a lot better in Farsi! It is our opinion that before setting a text, a composer should think about whether the text needs music to enhance it!

We will not close without casting compliments on Ms. Isbin. We heard two late 19th c. masterpieces--Enrique Granados' "Andaluza" from his 12 danzas españolas and Isaac Albeniz' Asturias, arranged by Andres Segovia--written originally for piano. Ms. Isbin's powerfully rasqueadas instilled the pieces with flamenco flavor.

The familiar melodies are marked by strong bass notes with a fine filigree. We definitely were feeling the "gypsy soul" and recognized the guitarist as an artist who communicates what she herself is feeling. Her playing involved subtle changes of dynamics and technical mastery of the highest order.  In Francisco Tárrega's Recuerdos de la Alhambra, the tremolo in the right hand called forth the vision of the plashing fountains.

As encore, we heard the Mexican composer Agustín Lara's 1932 "Granada" which brought the audience to their collective feet. We felt magnificently entertained.

We cannot end without returning to our comment about glamour. If an artist mentions her designer we feel called upon to comment. Austin Scarlett provided one hit and one miss.  The beautiful Ms. Leonard sported a red strapless gown that spilled into a pool on the floor; it was breathtaking. The lovely Ms. Isbin had a gown that appeared matronly, unbecoming, and uncomfortable.

(c) meche kroop

FROM OP TO POP

Michael Fennelly, Maya Yahav Gour, Alexa Jarvis, Sean Michael Plumb, Jane Shaulis, Galeano Salas, and Sol Jin

Last night Opera Index held its annual membership party and recital. President Jane Shaulis served as M.C., speaking briefly about the 33 year history of the organization and how successful it has been at helping young singers climb the professional ladder by holding competitions and awarding grants. A perusal of the Opera Index competition winners from prior years yields dozens of famous names, singers who were first recognized in the early stages of their careers.

Members were treated to a highly entertaining recital by five of this year's award winners. Tenor Galeano Salas, whom we heard as an Apprentice Singer at the Santa Fe Opera last summer, opened the program with "Che gelida manina" from Puccini's La Bohème. Mr. Salas has a lovely romantic Italianate sound with a fullness in the upper register.

But the most compelling aspect of his performance was the way he created the entire scene--with no set and no scene partner. It was most convincing and we were happy to learn that he has been invited to return to Santa Fe Opera next summer.

He also sang Maria Grever's "Jurame" which wowed the audience.

Mezzo-soprano Maya Yahav Gour produced a nice even French line in "La romance de l'étoile" from Chabrier's L'étoile. Her background is as a jazz singer and she is presently a promising Master's Degree student at Mannes College.

Her voice has a most interesting texture and we enjoyed her bluesy delivery of "Smoke Gets in Your Eyes".

Baritone Sol Jin, recently recognized in Opera News, sang "Avant de quitter ces lieux" from Gounod's Faust. He has a substantial sound and a lovely legato , creating that long lean line that we want to hear in French opera. In the martial central section, his voice became more forceful and the phrasing more clipped--a good use of variety.

He also sang a delightful Korean song in which metaphors from nature were used to describe romantic love.

Soprano Alexa Jarvis has a big sound that she employed well in "Stridono lassù" from Leoncavallo's I Pagliacci; she invested the song with ringing tone and substantial drama.

She also sang "Someone Who'll Watch Over Me". It delighted the audience to hear singers mix it up from "op" to "pop".

Baritone Sean Michael Plumb delivered "Pierrot's Tanzlied" from Erich Korngold's Die Tote Stadt. He has a wonderful instrument and stage presence, but what we really noticed was his superb German diction and a vibrato that reminded us of a cello.

As if this expanded program were not enough, we also heard a couple of duets--Ms. Jarvis took the role of Mimi to Mr. Salas' Rodolfo in the first act duet "O soave fanciulla" and then Mr. Salas sang the fourth act duet "O Mimi, tu più non torni" with Mr. Plumb as his Marcello. These duets were beautifully sung and dramatically convincing.

The hard working Mr. Salas had just arrived from Europe and had two auditions earlier in the day, which did not stop him from just one more song--"Because You're Mine". Some singers just love to sing! And we love to listen!

The accompaniment for the recital was perfectly handled by Michael Fennelly.

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FROM RUSSIA WITH (MUCH) LOVE

Dina Kuznetzova, Dalit Warshaw, Steven Blier, Michael Barrett, and Shea Owens

Last night our dear impressario, raconteur, and pianist Steven Blier presented a program "From Russia to Riverside Drive: Rachmaninoff and Friends". We are always happy to hear Russian songs and Rachmaninoff's extravagant lyricism is at the top of our list. The more we hear, the more we want to hear. This concert was presented as part of  the New York Philharmonic's Rachmaninoff festival.

Soprano Dina Kuznetzova has appeared frequently with New York Festival of Song and always impresses us with her glorious voice and intense involvement with the text--a true songbird she is! Baritone Shea Owens has similarly appeared with NYFOS and is also known to us from the Santa Fe Opera. He is always a pleasure to hear with his romantic leading-man sound and the sincerity of his stage presence.

New to us is composer/pianist/theraminist Dalit Warshaw. We have always been fascinated by this strange instrument, played without touch, but we never expected to have the opportunity to hear and see one played live. We had a fine time trying to figure out how Ms. Warshaw drew such sounds out of it.

We spoke with her at the post-concert reception and learned that our speculation was only half right.  Yes, the right hand creates the pitch but no, the sound is not created but rather the silence is sculpted from the sound made by the theramin. Does that make sense? Well, we think one would have to actually confront the instrument oneself to understand! It's inventor, one Lev Sergeyevich Termen, might have been anticipating the advent of electronic music!

The program included a few songs with which we are familiar due to their presence on a lot of recital programs. Sergei Rachmaninoff started composing songs at the age of 17 and, after leaving Russia, never wrote another. One of our favorites dates back to this early time period and "In the Silence of the Night" shows the influence of his teacher Tchaikovsky. How could it be anything but intensely moving--a song of lost love. Mr. Owens sang it with a lot of inner fire but without a lot of outward "signaling".

We noticed this also when he sang the meditative "She is as Lovely as the Noon" with its bursts of melismatic singing.  Meanwhile, Mr. Blier's piano reveled in a lot of exotic purling figures. In "The Torrents of Spring" he showed appropriate exuberance with Michael Barrett's piano enjoying the passionate postlude.

But it was toward the end of the program when Mr. Owens sang Rachmaninoff's only comic song "Were You Hiccupping?" that we got a complete picture of his dramatic range and flair for humor.

Although Mr. Owens is not Russian born, my Russian-speaking companion pronounced his Russian "exemplary". We do not know if he speaks Russian but his diction succeeded in every way.

Miss Kuznetzova is Russian born so her diction is not an issue. The major aspect of her performance was the intensity of her involvement in "Russian soul". Every phrase seemed deeply felt and produced with a most attractive vibrato.

In "No Prophet, I", Mr. Blier's piano rippled along while she used a variety of dynamics, exhibiting a beautiful pianissimo in the line about being a singer with the lyre as a weapon.

Among the many songs new to us was "Melody" with its whispers of Orientalism in the piano and a text that idealizes a beautiful death.  We also enjoyed her performance of the searching "A-oo!"

And what about that theremin!  It makes an eerie kind of whiny sound that sounds like nothing else on earth. We enjoyed it most in duet with the voices.  The final work on the program was the famous "Vocalise, Op. 34, No. 15". Without any words, the voices of Ms. Kuznetzova and Mr. Owens expressed a dozen different feelings; the various combinations with and without the voice of the theramin encompassed a variety of textures.

As encore we heard the 1945 Buddy Kaye/Ted Mossman "Full Moon and Empty Arms", a blatant theft from Rachmaninoff's Piano Concerto #2, performed by the ensemble, including the theramin.

The program also included songs by composers Rachmaninoff knew when he immigrated to the USA. We heard Joseph Schillinger's "Orientalia"--two vocalises written for voice  but performed by Ms. Warshaw and Mr. Barrett.  Also a bluesy number by Duke Ellington ("On a Turquoise Cloud") in which Ms. Kuznetzova's voice blended beautifully with Ms. Warshaw's theramin and Mr. Blier's piano.

However, from this portion of the program, our personal favorite was "Little Jazz Bird" from the brothers Gershwin's 1924 opus Lady, Be Good!  Mr. Blier went absolutely wild on the piano and Mr. Owens sang it charmingly. We hope it will be scheduled on one of the "Sing for Your Supper" evenings at Henry's.

We are eagerly awaiting the next NYFOS recital at Merkin Hall, featuring songs by Schubert alongside those by The Beatles. There is always something compelling coming up. As Mr. Blier says "No song is safe from us."

(c) meche kroop

(AD)VENTURE OPERA

Christian Zaremba, Marquita Raley, Amy Shoremount-Obra, Yujoong Kim, Philip Cutlip, Eric Downs, Matthew Patrick Morris, Cecelia Hall

We are always excited about a new opera company and eager to see what they have to offer. Every now and then we experience a company with a vision that goes beyond the standard one of providing performance opportunities for young singers or attracting a new audience.  Last night we witnessed the birth of an exciting new company--Venture Opera--without any excruciating labor pains. We are sure that much labor went into their production of Mozart's Don Giovanni but we missed all that.  We got to greet the welcome new baby in all its glory.

Thursday night we heard Jonathon Thierer sing at the Classic Lyric Arts Gala (reviewed beneath this review) but last night he wore a different hat--that of Founder and General Director of Venture Opera. We welcome this new baby with open arms.

Ordinarily we don't like to see our favorite classics altered in any way, but this non-traditional presentation did not take anything away from Mozart's tragicomic masterpiece but rather added something new that led to a more visceral understanding of librettist Lorenzo da Ponte's message.

The production was designed and directed by Edwin Cahill with a sure hand. The arc of the story moved along swiftly and all the encrusted clichés and tropes were swept away. The inherent tragedy was made even more poignant by the framing device which was set up during Mozart's portentous overture.


The ghost of Tirso de Molina, the author of the original Don Juan story, (Joel Reuben Ganz in a non-singing role) calls up the souls of the characters from Purgatory and, when the actual opera begins,  they relive their lives and their sins. They are barefoot and their fingernails and toenails are painted a ghostly white.

Both Tirso de Molino and Lorenzo Da Ponte were born Jewish and obliged to convert to Catholicism, even becoming priests--the former in late 16th c. Spain and the latter in 18th c. Venice. What better venue for this work than the Angel Orensanz Center, a deconsecrated 19th c. synagogue built in the Gothic Revival style of the grand cathedral of Cologne. Most of the action was staged on the pulpit but the aisles and balconies were put to good use as well.

The eponymous Don Giovanni in this performance, as played by the formidable baritone Philip Cutlip, is sinful in many ways--he is a rapist and a serial seducer, he abuses his servant, he lies and tricks people. Mr. Cutlip's Don oozes menace, not charm.  He is a corrupt priest of the Catholic church who abuses his power.   Lust, gluttony, greed and pride color his every action.

Most of the characters are guilty of manipulation. Donna Anna, powerfully sung by the stunning soprano Amy Shoremount-Obra, manipulates her fiancé Don Ottavio, stringing him along, clearly never intending to marry him.  Her bright and well-focused instrument was well employed in the service of the character.

The peasant girl Zerlina, marvelously portrayed by Cecelia Hall, has her fiancé Masetto, well sung by sturdy bass Matthew Patrick Morris, wrapped around her finger, much as she wraps him in the white cloth that later serves as the sheet on their nuptial bed. She betrays him on their wedding day and uses her sexuality and hyperbolic offers of submission to win his forgiveness.

Leporello, portrayed without the customary shtick by baritone Eric Downs, is a coward and easily bought by the Don's money, even if it is stolen from the collection plate. He is an accessory to the Don's crimes.

Only Donna Elvira is straightforward. Marquita Raley sang the role with great power. Her voice is a special one with lots of texture and overtones that made her seem a force with which to be reckoned. She is protective toward Zerlina, warning the peasant girl--and not just because she wants the Don for herself.

She is capable also of forgiveness but guilty of self-deception, like many women who think they can reform a bad dude. She suffers from wrath and also envy.  Just see her smirk at the finale! Donna Anna has Don Ottavio. Zerlina has Masetto.  She has nobody and will enter a convent. Surely she begrudges others what she cannot get.

Don Ottavio comes across as the only good guy onstage. We reviewed Yujoong Kim three years ago at Juilliard and wrote that we wanted to hear more of him. He has a beautiful sweet ringing tenor that is filled with romantic promise. He was an ardent suitor in this production and sang "Il mio tesoro" with great lyricism and finesse. "Dalla sua pace" was omitted but again..."We'd like to hear more".

We don't know why this noble soul wound up in Purgatory, nor why the Commendatore was there either. Perhaps they committed sins we hadn't heard about! Christian Zaremba sang the role of the Commendatore with a substantial and grounded bass.

In sum, the casting was perfect and each singer was as superb dramatically as he/she was vocally. The musical values were excellent. Maestro Ryan McAdams has an energetic style just right for this opera and commanded his orchestra effectively.

The orchestra was situated off to the side so that his back was to the singers and he was obliged to turn around from time to time. During the party scene, the musicians playing the rustic tune departed the orchestra, which was playing a minuet, and sat on the opposite side of the stage--a novel and effective way to illustrate the differing tastes of the different social classes present.

Pauline Kim Harris played the lute solo onstage during the serenade scene.  Every opportunity to make use of this interesting and acoustically wonderful venue was seized.

Costume Design by Bradon McDonald was apt. Don Giovanni and Leporello were dressed in vivid red and black. The women were dressed in white, grey and touches of black. Don Ottavio wore a white dinner jacket. It all seemed to fit with their characters. Effective lighting was by Yael Lubetzky.

All through the performance we were noticing little things that meant a lot toward underscoring the inherent violence of the tale. Donna Anna dons her dead father's bloody glove.  Elvira twists a scarf in her hands as she thinks of strangling Don Giovanni. Don Ottavio threatens with a red pistol.

The only directorial choice that struck us as wrong was in the final scene when Don Giovanni snorts cocaine instead of indulging his gastronomic gluttony. If you understand the Italian or if you are reading the titles, the discrepancy between action and words is unsettling.

We can scarcely wait to see what Venture Opera comes up with for their next adVenture.

(c) meche kroop

IT'S CLASSIC, IT'S LYRIC, IT'S ARTISTIC--IT'S CLASSIC LYRIC ARTS!

Artistic Director of Classic Lyric Arts Glenn Morton and his talented group of young artists

A gala is defined as a social occasion with special entertainments or performances, a festive celebration-- and that is exactly what transpired last night when Classic Lyric Arts celebrated its young artists and entertained those denizens of Planet Opera fortunate enough to be at the annual Fall Benefit Gala.

For those of you who don't already know, CLA runs two highly esteemed programs which aim to advance the careers of young singers by on-site immersion in the cultures of France (L'Art du Chant Français) and Italy (La Lingua della Lirica). Everything is covered--diction, style, repertoire, stagecraft, and career development. The students are also given international performing opportunities.

Filmmaker August Ventura has documented these programs for anyone to witness the magic that takes place, and we have attended some of the master classes taught by some truly brilliant teachers who brought out the best in their students.

We will come to the entertainment part of the evening shortly but first we wanted to comment on the tribute given to the program by former student Dorothy Gal who shared with the audience some charming stories about the training she received. She was not the only alumna present. These young artists develop a strong loyalty to the programs and a deep attachment to Artistic Director Glenn Morton.

As far as the singing goes, we were royally entertained as the students showed off their newly acquired artistry.  Beautiful soprano Mikaela Bennett, fresh out of the Italian program, provided a splendid performance of "O, mio babbino caro" from Puccini's Gianni Schicchi.

There was a sparkle in her top notes and plenty of pleading, enough to convince her poppa to give her anything she wanted. We just recently heard her for the first time with Steven Blier's "Sing for your Supper", singing cabaret in English. It was quite a treat to learn of her skills in Italian.

We adored mezzo-soprano Kady Evanyshyn's lovely performance of "Connais-tu le pays" from Ambroise Thomas' Mignon  for its long lyrical phrases and fine French style. This gave firm evidence of her hard work in both programs.

Does anyone not love "Ah! mes amis" from Donizetti's La fille du régiment? One tends to hold one's breath waiting for the tenor to nail those high C's and Vincent Festa tossed them off without a sign of strain. High notes aside, the aria was delivered with beautiful tone and apt sincerity.

We always love a good duet and the lovely Larisa Martinez paired with baritone Suchan Kim for "Tutte le feste al tempio" from Verdi's Rigoletto. The pair sounded excellent together and succeeded in conveying all the pathos required. Ms. Martinez' voice opens up beautifully on top and Mr. Kim has a full tone with a great deal of depth.

Vera Kremers sang "Youkali" by Kurt Weill and made every word count.  Even at the top of her register, we understood every word. This was perhaps the best French diction we have ever heard from someone not born in France. Her bright voice was firmly grounded. We would have liked a bit more emphasis of the tango rhythm but we got plenty of that from Laetitia Ruccolo's piano.

The quartet from Puccini's La Bohème is a wonderful showpiece. Rodolfo and Mimi have a tender moment while Marcello and Musetta are having a knock-down drag-out fight. Soprano Nadia Petrella gave us a tender well-modulated Mimi with tenor Matt Greenblatt a fine Rodolfo. Ms. Bennett returned as Musetta with baritone Bret Thom as Marcello. These four graduates of the Italian program perfumed the air with virtual garlic. Michael Sheetz was the excellent accompanist.

Händel's opera Serse is one of the composer's best. In "Va godendo/Io le dirò", the role of Serse, usually sung by a mezzo-soprano, was sung by Gon Halevi while Jordan Rutter sang the part of Arsemene, which is also generally sung by a mezzo-soprano. In a kind of reverse gender-bending, these two countertenors made a special kind of music. It's a fach of which we are very fond and we enjoyed the change.

Soprano Tamara Rusque gave a moving performance of Cio-Cio San's big aria of self-delusion--"Un bel di vedremo" from Puccini's Madama Butterfly. Her big rich sound has an impressive resonance and her acting skills were convincing.

Dongling Gao left the European world behind and graced us with a lovely Mandarin love song accompanied by Jia-Jun Hong. And finally, three handsome dudes performed the trio from On the Town by Leonard Bernstein.  Michael Stewart accompanied while Mr. Greenblatt, Mr. Thom, and Jon Thierer had a marvelous time with it; the joy was reflected on the faces of the audience.

We want to give three cheers to the programs, the artists, and to Glenn Morton.  So....hip, hip, hooray.  Or as we say nowadays, WOOT!

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FROM RUSSIA WITH LOVE

Benjamin Laude, Maya Lahyani, Elad Kabilio

Last night we experienced "Music Talks" for the very first time. We hope it will not be the last. Host and master cellist Elad Kabilio has a mission of presenting classical music in an intimate and informal setting, bringing this music to a broader public. On the faculty of the Manhattan School of Music, he has skills as an educator and manages to convey quite a bit of helpful information without talking down to his audience.

He founded "Music Talks" four years ago and we were happy to be made aware of his project by the sensational Israeli mezzo-soprano Maya Lahyani whom we first noticed (and reviewed) at last year's Gerda Lissner Awards Recital in which she sang the "Habanera" from Bizet's Carmen.

We are far from experts in the field of chamber music but we are eager to learn and profited by Mr. Kabilio's comments about Russian music. Not only were the comments useful but there was live demonstration on both cello and on Benjamin Laude's piano that sharpened our listening skills.

Aside from the vocal music, which we will come to shortly, we heard selections from three generations of Russian composers. As one may have predicted, our Romantic ears responded most enthusiastically to Tchaikovsky's Nocturne for Cello and Piano in D minor, Op. 19.

We learned that a Nocturne was generally played at the end of an evening of music and we learned to listen for the opening theme in the cello which was lavishly embroidered by the piano when it returned after the lavish coda of the second section.

We then heard Chant du Ménestrel, Op. 71  by Alexander Glazunov, who came along a generation after Tchaikovsky. The cello was intense and we related best to the lyrical center section.

Stravinsky's revolutionary tendencies and eclecticism were discussed before we heard his 1925 Serenade in A for piano, beautifully played by Mr. Laude. We learned why this composer returned to Romanticism for this work and why each of the four sections lasts only 3 minutes. (If you can guess why and write it in the comments section below, you will get a free subscription to the blog!)

The first part "Hymn" was an homage to Chopin and once Mr. Laude played the original Chopin melody on the piano, we could better appreciate what Stravinsky did to it. We also learned about how he avoided defining the major/minor issue at the conclusion of the piece "Cadenza Finale".

As valuable as the instrumental part of the program was, we found the highest level of interest in the vocal section. Ms. Lahyani is a mezzo of the highest order who can be seen and heard onstage at the Metropolitan Opera. She has a voluptuous plushy sound that was just right for Sergei Rachmaninoff's Romantic songs. The first four were composed when Rachmaninoff was barely past his teenage years.

We loved the intense drama of "Oh Stay, my love, forsake me not!" written in the throes of an ill-fated love affair with a girl who had (insert gasp) "Gypsy blood". "Morning" is a gentle song which Ms. Lahyani swelled to a fine climax. "In the silence of the mysterious night" was followed by our favorite "Do not sing, my beauty, to me".

This is among our dozen favorite songs by ANY composer. The minor key melody is memorable and the words are haunting and ineffably sad. It is still running through our brain and inhabiting our heart. Ms. Lahyani did particularly well with the vocalise section. The depth of feeling and variety of dynamics were impressive.

We also heard an intense song from a later period of Rachmaninoff's oeuvre--"All once I gladly owned", and as encore, Tchaikovsky's well known "None but the lonely heart".

To our ears, Ms. Lahyani's Russian sounded just fine but our native born Russian companion told us that although the words were mostly comprehensible, the Russian was pronounced with a significant accent.

We have one criticism of this otherwise superb performance. We have written often about the use of a music stand. In this case, Ms. Lahyani barely looked at it and we had the impression that the score was there more as a security blanket. But it does serve to interrupt the connection with the audience.

All told, it was a most worthwhile evening--mostly entertaining with a healthy dose of instruction.

(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