Holden Turner, Laurie Rogers, Cierra Byrd, Julie Knott, Daniel LaRue, Rira Kim, and Sara Nealley
Perhaps every other opera lover in New York City spent the afternoon at The Metropolitan Opera undergoing the tense atmosphere of the Laffont Competition. Meanwhile we were enjoying a relaxed and rewarding afternoon up close and personal in the WQXR recording studio downtown hearing six superb young singers from the Vocal Studies Department at Peabody Conservatory.
With typical New York City chauvinism, we had hardly realized that a superb vocal training program might exist outside of Gotham until The Gerda Lissner Foundation began sponsoring a series of broadcasts about which we have been writing this year, a series hosted by the well known Midge Woolsey. Introducing and narrating the program was Elizabeth Futral who, incidentally, won the Metropolitan Opera National Council Competition (now called the Laffont Competition) in 1991, went on to enjoy a brilliant career, and now occupies the position of Marc C. Von May Distinguished Chair of Vocal Studies at Peabody Institute.
The six young singers made a fine showing, doing credit to the program. They chose their selections well, each one highlighting his/her own strengths. No criticism could be made of their vocalism and we were able to focus on their dramatic presentations which were consistently special.
Coming to mind first was the Rosina of mezzo-soprano Julie Knott who took us right into the scene in Rossini's Il barbiere di Siviglia in which she plots to outwit her controlling possessive guardian. The lavish embellishments in"Una voce poco fa" served to limn her character and we were delighted by the performance. Ms.Knott is also capable of quietude and underplaying as she demonstrated in the soulful mystic chant of Hildegard von Bingen, performed a cappella. Her dynamic variation kept the simple line interesting.
Soprano Rira Kim made a marvelous Marguerite, so impressed by the cask of jewels she received from Faust in "Ah, je ris" from Gounod's Faust. We also enjoyed a Korean folk song "Baetoolga" in a contemporary setting by Jean Ahn.
Mezzo-soprano Cierra Byrd is as adept in French as she is in German, giving Fauré's "Après un rěve" a lovely long Gallic line and giving Mahler's chipper folksong "Wer hat dies Liedlein" the requisite humor, even in the vocalise part.
Soprano Sara Nealley tackled some difficult material. If one were unfamiliar with James Joyce's text, one would have a difficult time understanding Barber' setting of "Nuvoletta" and the soprano range doesn't help to elucidate the text. Her other selection was an emotional aria from Janáček's Katya Kabanova, a tragedy about an unhappy wife who drowns herself after an episode of unfaithfulness. We are not familiar with the Czech language but we did pick up on the loneliness.
Tenor Daniel LaRue gave a fine performance of Schubert's masterful lied "Erlkonig", differentiating the voices of the frightened child, the seductive elf king, and the father who tries to reassure the child.
Baritone Holden Turner was convincing as the self important Count Almaviva in Mozart's Le nozze di Figaro. He is completely baffled by the machinations of Figaro, Susanna and the Countess in "Hai già vinta la cause" and plots his revenge.
Accompanist for the recital was Laurie Rogers who admirably kept up with the many changes of style.
Before closing, here's a reminder for you that The Gerda Lissner Foundation is celebrating the winners of their annual competition on April 29th at Zankel Hall. Ticket supply is dwindling and we urge you to move quickly to secure a seat for this consistently thrilling event.
© meche kroop
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