Jasmine Ward, Abigail Raiford, Magdalena Kuzma, Luna Seongeun Park, Shelen Hughes, Joseph Parrish, Benjamin Sokol, Son Jin Kim, and Minghao Liu with Jane Shaulis at the podium
Opera Index is an organization that fulfills a number of needs within our opera community, providing financial and career support to emerging opera singers; it is run by volunteers and sustained by donors. To look through the list of their honorees is to look at a Who's Who of Planet Opera. This year's honoree was renowned Welsh bass-baritone Sir Bryn Terfel, given the award by Barry Tucker son of the late great tenor Richard Tucker.
It has been our great pleasure to be a member of Opera Index lo these many years and to have written about the galas and also the less formal recitals at which we get a more substantial hearing of some of the winners. Among the 2024 winners were several young artists that have thrilled us with their undergraduate and post-graduate performances, artists well deserving of awards, attention, and future success.
As is our wont, the ranking of prizes and their commensurate cash value will not be mentioned here; for us these artists are all grand prize winners. If such is your need to know, let us refer you to www.operaindex.org where you can learn more about this storied foundation and (of course) make a donation. President Jane Shaulis opened the evening with some very welcoming remarks, and then....let the excitement begin!
Opening the program was soprano Luna Seongeun Park who let her voice and personality shine in "Chacon le sait" from Donizetti's La fille du regiment, showing not only vocal beauty but capturing Marie's lively temperament. We haven't enjoyed the aria this much since Natalie Dessay performed it at The Metropolitan Opera.
More soprano superiority was to follow with Shelen Hughes showing a melting legato and rich tone in Suzel's charming aria "Son Pochi Fiori" from L'amico Fritz, Mascagni's second most famous opera. Mascagni meant for his music to show us how Suzel won the heart of the landowner and, similarly, Ms. Hughes won the hearts of the audience.
Figaro's unjustified suspicion of Susanna's infidelity is always a crowd pleaser and bass-baritone Son Jin Kim made the most of "Aprite un po' quell occhi" from Mozart's masterpiece Le nozze di Figaro. Mr. Kim's phrasing, dynamics, and rhythmic acuity brought his character to vivid life.
Taking us from comedy to tragedy was soprano Jasmine Ward whose soaring soprano did justice to the tragic lament "My man's gone now" from George Gershwin's Porgy and Bess, the only American opera represented in last night's program. The audience's rapt attention was palpable.
Moving on from tragedy to rage, Abigail Raiford tore into the role of Queen of the Night in "Der Holle Rache" from Mozart's Die Zauberflote. Always a showpiece and a chance for a coloratura soprano to show her stuff, Ms. Raiford evinced clarity in the lavish fioritura and skill with the high tessitura.
From rage to fear we go! So much emotion in one evening! In Verdi's Macbeth, Banquo senses the upcoming slaughter of himself and his young son in "Come dal ciel precipita". Bass-baritone Benjamin Sokol used the excellent resonance of his instrument to create the character, a superlative performance indeed.
Tchaikovsky's Iolanta is not often produced and we welcomed hearing the heroine's Arioso sung with sensitivity and dynamic variety by soprano Magdalena Kuzma, whose warm voice was echoed by a warm stage presence.
Who doesn't enjoy a good Belcore! Bass-baritone Joseph Parrish delighted us with "Come Paride vezzoso" from Donizetti's L'elisir d'amore, employing his lustrous tone and charming personality to create a likable and amusing character. Having heard Mr. Parrish sing mostly in Russian and English, we relished the opportunity to enjoy his Italianate phrasing and legato. (With three excellent bass-baritones on the program, we were dying to learn what Sir Terfel thought, but we were sure he would not say!)
Closing the program was the sole tenor of the evening Minghao Liu who is having a fine career in bel canto roles, as well he should. His instrument has tonal warmth which he employs with consummate legato. We particularly enjoyed the way he used the entire staging area for Lindoro's aria. "Languir per una bella" from Rossini's dramma giocosa, L'Italiana in Algeri. We mentally cast him in a few other bel canto roles.
As Collaborative Pianist we had Matthew Lobaugh who easily changed mood and color to suit the varying emotions onstage. Indeed, all the artists succeeded in carrying us from comedy to tragedy to anger to charm. What a splendid celebration of young artists, all of whom are well on their way to successful careers. Bravi tutti!
© meche kroop
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