SHOWCASE OR NEW OPERA COMPANY?

Enes Pektas as Michele

Sarah Stevens as Giorgetta and David Freides as Luigi

With his typical modest manner, Glenn Morton, Director of Classic Lyric Arts Vocal Academy, introduced CLAVA's debut opera performance at The Blue Gallery. As a member of the audience we are not obligated to be modest. As a matter of fact, we are over the moon about a completely engaging performance of Il Tabarro, one third of Puccini's  Il Trittico. The singing was stellar with major roles performed by members of CLAVA and supporting roles cast with graduates of CLA's  immersive summer programs in Italy, France, and The Berkshires.

Adding to the immeasurable vocal thrills of the evening were three factors. The finely tuned direction of Daniel Isengart (a CLAVA Faculty Member) told the timeless story with specificity of detail and characterological honesty.  The conducting by Maestro Michelle Rofrano  built the intensity of Puccini's score to a fever pitch, relaxing only briefly for the dancing scene. The piano artistry of Doug Han who, by some kind of magic, created all the colors of the orchestra.

Mr. Isengart's stage direction was so specific that our guest, who speaks no Italian, was able to relate the story to us after the curtain.  And no, he did not read the synopsis. This was an experiment because there were no projected titles. Not only was the story well told, but each character was believable, evoking memories of real people.

As Michele, the Captain of the barge, we heard baritone Enes Pektas, whose Master's Degree recital we recently reviewed. (You can, Dear Reader, enter his name in the search bar if you missed the review.) His acting was so intense and brooding that we lost sight of the artist as someone we have seen and heard before. He actually became the character and we felt the pain of being betrayed. Although Giuseppi Adami's libretto is set a century ago, the story is a timeless one. The narcissistic injury endured by a man in a loveless marriage unable to retain his wife's affection can easily turn to murderous rage. That story is not unknown today.  The sullen vocal color infused Mr. Pektas' portrayal whilst he preserved his beautiful tonal quality and phrasing.

As his unhappy wife Giorgetta, soprano Sara Stevens (also reviewed several times this year for her performances as a Master's Degree student at Manhattan School of Music) turned in a most affecting performance. By means of vocal coloration she demonstrated the coldness she felt for her much older husband and the feminine energy she projected with Luigi, a stevedore on the barge. By some fine acting one could sense that she and her lover had a past that they shared. Indeed they both came from the same suburb of Paris and probably grew up together. All this was conveyed with facial gesture and posture, but probably came from a deep belief in the character. 

There was the lighthearted side of Giorgetta as well, when she brought wine to the stevedores and danced. There was even a funny moment when Tinca (played by John Viscardi, once a CLA student but now Coach and Artistic Director) tried clumsily to dance with her and stepped on her toes.

The character of Luigi the lover was wisely drawn by tenor David Freides who was careful not to make him too sympathetic. Did he deserve his fate? That was left for the viewer to decide. That he sang with beautiful tone might have prejudiced the audience to more sympathy than he deserved.

It is said in the theater that there are no small parts and that seems to be true in opera as well.  As evidence we offer the fine performance of mezzo-soprano Sofia Durante as La Frugola who comes on board with trinkets and gossip that she shares with Giorgetta. She immersed herself so completely in this voluble role that it took us a few minutes to recognize her as someone we have heard in concert several times before. 

As her husband Talpa, Alejandro De Los Santos made an equally fine showing. The carefree domestic affection between this pair served as counterpoint to the tense relationship between Michele and Giorgetta. This is something we never perceived before and for this we thank the direction.

As far as the setting, there is no actual stage in The Blue Gallery. A metal bar stretched horizontally across the playing area and we had no trouble perceiving it as the railing of the barge. Stevedores toting large boxes across the stage added to the illusion and reminded us that much can be accomplished with minimal material resources and a lot of imagination.

The minor characters were portrayed by Samuel Ng and Sofia Gotch singing from behind the audience and in a space up near the ceiling. This was not a problem since it served to focus attention on the major characters. Costuming was minimal and timeless.

Everything served to show us that opera is theater with gorgeous voices. Famous names and elaborate sets are not as important as the music and the storytelling, of which we had the very best!

A couple years ago the late and lamented On Site Opera produced this same opera at The Seaport (review can be found in the search bar) with action taking place on a ship and the audience seated on the dock. We enjoyed the realism but the voices required amplification. This made last night's performance even more valuable as we heard Puccini's vocal lines delivered with musicality and authenticity.

Without the obligation of bringing in famous names to fill a huge theater, opera can once again be restored to its original function and we applaud this aim. This opera was chosen by CLAVA, not to please an audience, but because they had the right singers for the roles. Would this model work for a small opera company in Manhattan? We very much think so and will be first in line for their next venture. Was this experience valuable for the young artists who participated in CLAVA? We definitely think so. Academic institutions cast them in contemporary operas no one else will ever produce, or in weird productions of great operas. But to get a chance to perform in an authentic production of a great opera means that they can sing these roles anywhere in the world. And we hope that they will!!!!!

© meche kroop

A MOST GALA GALA

  A scene from Mozart's Cosi fan tutte

Unless you are new to Voce di Meche, you are familiar with our delight in institutions that share our goal of fostering the careers of young opera singers. Having impressed us year after year with results, Classic Lyric Arts tops our list of institutions worth supporting.  Recently expanded from their three summer programs of total immersion in Italy, France, and the Berkshires, yearling CLAVA (Classic Lyric Arts Vocal Academy) is now flourishing, providing advanced year-long training to a select group of students.

Last night we attended the annual gala in which students and alumni got to show off their vocal, linguistic, and dramatic skills. Following a two handed piano arrangement of the overture to Don Giovanni (I-Hsiang Chao and Hannah Harnest) we were treated to the tender duet "Ange adorable" from Gounod's Roméo et Juliette with Sofia Gotch lending her brilliant instrument to the role of the shy heroine with tenor Yulin Wang giving an affecting performance as the ardent Roméo. The French diction succeeded beyond the customary skill of most young singers, evidence of some fine coaching. Daniel Isengart's astute direction had the two circling each other in a dance of seduction.

Following was the delightful light hearted duet from Hahn's comic opera Ciboulette, an interesting choice to show off the charms of Alison Kessler and Kevin Douglas in the duet "Nous avons fait un beau voyage", sung in French that was as Gallic as one might wish for. Hyojeong Ham accompanied.

The crazy scene from Mozart's Cosi fan tutte was so cleverly directed by Mr. Isengard that the nonsense between the six main characters made sense and we were plunged right into the craziness. Ms. Harnest accompanied the frolic with Annelise Burghardt, Brigid Mack, Yunxin Dorothy Nie, Benjamin Truncale, Jongho Woo, and Brian Linares bringing the scene to vivid life with  Ferrando and Guglielmo feigning suicide to win the affections of Fiordiligi and Guglielmo, whilst Don Alfonso and Despina enjoy the chaos they created.

Soprano Kerrigan Bigelow used her delicate vibrato to portray the shy Micaëla in her Act I duet with Don Jose, convincingly portrayed by tenor Philippe L'Esperance who has never sounded better, although we have always enjoyed his performances. Ms. Ham accompanied.

A riveting and star-making duet from Bellini's Norma ("Mira, o Norma") gave an opportunity for stellar soprano Sara Stevens to tackle this difficult number with the well loved mezzo-soprano Briana Hunter providing fine harmony as Adalgisa. The acting was particularly effective as the two women drew closer to one another. Again, Mr. Isengart's staging was right on point. Ziyi Hong accompanied.

A different Fiordiligi, Haiming Wu, succumbed to the importunate Ferrando of Mr. Truncale in "Far gli amplessi", a bit further along in the story.  There was so much going on in the aforementioned sextet that we didn't have the opportunity to focus on any one singer, but in this duet we noticed Mr. Truncale's embouchure and how that contributed to his most Italianate sound. Ms. Wu gave an excellent rendering of Fiordiligi and I-Hsiang Chao accompanied.

Comedy filled the air as Mr. Wang showed that his Italian was just as good as his French in "Se inclinassi a prender moglie" a duet from Mozart's L'Italiana in Algeri in which Lindoro evades the wishes of Bey Mustafa, well portrayed by  Juan Angel Johnston-Chavez.  Shaobai Yuan accompanied.

If there is one scene in Massenet's Manon that moves us it is when the eponymous heroine seduces her former lover who has joined the priesthood! Soprano Brea Marshall used every vocal and dramatic device in her repertoire to accomplish her goal. Her victim Des Grieux was well sung by Jack Hicks and Hyojeong Ham accompanied.

John Viscardi, Executive Director of CLA, is well known to us in both the tenor and baritone fach and made a fine impression as he stepped right into the role of Marcello, lamenting his lost love in the final act of Puccini's La Bohême. Portraying his friend Rodolfo was tenor David Freides and we enjoyed the way the two men balanced each other. Marianna Vartikian accompanied.

Closing the program was a very funny scene from Rossini's Le Comte Ory, well staged by Mr. Isengart who, we might mention, is on the faculty of CLA. The most remarkable feature of his directing is that even an opera neophyte could understand what is happening in a scene, even without benefit of knowing the language. But there were also his well written and concise program notes as insurance! Ziyi Hong provided the lively accompaniment.

Artistic Director Glenn Morton, well known as a faculty member of all three music conservatories in New York City, gave a warm welcome to the guests who were also treated to a lovely reception before and after the program, giving guests an opportunity to mingle with the young artists and to compare notes on the performances. This format seems more agreeable than the customary costly sit-down dinner with a high price tag used by other foundations to raise money and celebrate young singers.

We don't have enough good things to say about our own experience with CLA, not to mention the feedback we get from the students, as well as the evidence of our own ears. Their format of total immersion seems most effective. There is something more to be told, Dear Reader, something we will announce in due time.  So....stay tuned, as they say.

© meche kroop

CLASSICAL, LYRICAL, AND ARTISTIC

 Luc Cheng, Glenn Morton, Young Kwang Yoo, Kevin Jasaitis, Sofia Gotch,  Sofia Durante, Sara Stevens, John Viscardi, Eliza Masewicz, Maia Sumanaweera and Samuel Ng

Regular readers recall my enthusiasm for Classical Lyric Arts, a highly esteemed immersive summer training program for young singers  held in France, Italy, and the Berkshires. Here is some great news, Dear Reader! CLA has expanded into an all year program helping recent conservatory graduates to navigate the difficult period of launching a professional career. Assistance is given in many areas including (but not limited to)  navigating auditions and competitions,  choosing repertory wisely, choosing management, and of course the finer points of singing. We think of it as polishing the gems.

Last night a private recital was held to celebrate this launch and the fortunate members of the audience had an opportunity to hear a program of Italian love songs, arias, and duets. What better language than Italian to sing of love! Even speaking Italian sounds like a love song! Our host, Glenn Morton (Artistic Director of CLA), accompanied some of the singers and the talented Luc Cheng accompanied other singers , including Executive Director John Viscardi (a graduate of CLA) about whom more later.

If we have heard a better recital, we cannot recall. The CLA singers demonstrated fine technique in which we can find no flaws. Their Italian was universally perfect, evidence of the fine immersive training they received in Italy. What most astonished us however, was how each singer showed something we call stage worthiness. They not only understood the text and the emotions which generated it, but they managed to employ the dramatic skills learned from faculty member Daniel Isengart, using facial expression, gesture, and the physical space that was available to create believable dramatic situations.

There were about 15 pieces performed and we will attempt to describe a few to illustrate this. In Rossini's Il Barbiere di Siviglia , Rosina persuades Figaro to get a note to the Count. Mezzo-soprano Sofia Durante created the character of the spunky young woman who is going to get her way whilst baritone Kevin Jasaitis was absolutely taken aback by her anticipation of his plot. They were so effective that one could imagine everything that led up to that moment and everything that would follow.

Ms. Durante also showed her aptitude for breeches roles in two scenes. From Bellini's I Capuletti e I Montecchi, we heard "Ah, crudel d'onor ragioni" in which Romeo and his Giulietta (soprano Sofia Gotch) sing a duet of conflict and anxiety. She also made a fine Nerone in duet with Poppea (soprano Maia Sumanaweera) from Monteverdi's L'incoronazione di Poppea. We heard this duet recently in which the singers "sexed it up" which removed the chemistry we felt from this performance as the singers slowly approached each other, heightening the anticipation.  Yes, we all know that Nero and Poppea were terrible people but in this opera you have to want them to triumph and so they did.

In a scene from Mozart's Don Giovanni, Mr. Jasaitis--now suave and perfectly self-assured--seduced a flirtatious Zerlina, adorably performed by soprano Eliza Masewicz. Each showed impressive comprehension of the character at that particular point in the opera.  In a different scene the seductive Don (Mr. Jasaitis who seems to own the role) performed the serenade "Deh vieni alla finestra" gazing upward at an actual window with the unknown woman actually there, lending verisimilitude to the performance.

The Cherry Duet from Mascagni's L'amico Fritz was performed by  Ms. Sumanaweera and tenor Samuel Ng with such intense chemistry that no one could have missed foretelling the romantic ending to the opera.

There were two entries from Puccini's tragic love story La Bohême. The Mimi of Act I was performed in a touching fashion by Sara Stevens, possessor of a huge and gorgeous soprano, who gave her all to "Mi chiamano Mimi". This was followed by "O soave fanciulla" with  Mr. Viscardi as the ardent Rodolfo (a role he just performed in Colorado, a role that fits him like a custom tailored suit).

There were also several more arias and songs to tickle our ears. We love Tosti's songs and Mr. Ng's impassioned delivery of "Ideale" perfectly captured the Italianate style, as did Mr. Viscardi's performance of "Sola tu manchi".

Ms. Gotch created a memorable Gilda from Verdi's Rigoletto, adorning the vocal line with precisely rendered coloratura flourishes. Similar technical precision was evinced by Ms. Masewicz performing "Qui la voce sua soave" from Bellini's I Puritani. We don't want to end without mentioning a funny moment. We were surprised when the photographer (whose photos are guaranteed to be better than ours) was called upon to sing. It turned out that Young Kwang Yoo had been pressed into service as photographer for the event and is actually an opera singer of terrific talent.

© meche kroop

CLA OFFERS FRENCH OPERA AND MÉLODIE

 Donghoon Kang, Yohji Daquio, John Viscardi, Sara Stevens, and Glenn Morton

Not even the stunning view across the East River could distract us from the fabulous French program presented by Classic Lyric Arts. CLA has, at present, summer programs of incomparable value in France, Italy, and The Berkshires, the latter focusing on the operas of Mozart. Graduates of these programs are showing off their acquired skills in theaters all over the world. One thinks of these programs as polishing the gems.

Yesterday's concert shed luminous light on the success of CLA's French program which provides an immersive experience for young singers who wish to up their game in French opera and mélodie. If this concert is accepted as evidence, the summer program in France has accomplished its objective beyond what one might hope for. The French language is notoriously difficult to master, largely due to the vowels, especially the nasal ones, and the necessity for long lines, almost free of the stresses one finds in English.

The program opened with CLA Artistic Director Glenn Morton accompanying Executive Director John Vicardi (a graduate of the programs from some years ago) in a moving performance of Henri Duparc's "Chanson triste". As staged by renowned director Daniel Isengart, the mood was fragrant with tristesse. This was no ordinary concert since each piece was lent dramatic impact and intent which augmented the very fine voices.

The gifted young pianist Xu Cheng accompanied the other singers in a program that seemed all too short. Most memorable were the following:  soprano Yohji Daquio singing Juliette's sparkling aria "Je veux vivre"  (from Gounod's Romeo et Juliette) with every ounce of impassioned young womanhood; baritone Donghoon Kang's  strutting demeanor as he created a formidable Escamillo, from Bizet's Carmen, capturing the hearts of the imaginary Spanish ladies (and perhaps those of the women in the audience as well); soprano Sara Stevens' performance of "Robert, toi que j'aime" from the rarely seen Meyerbeer opera Robert le diable.

We are glad that the collapse of Thaïs (Ms. Daquio) into the arms of Athanaël (Mr. Kang) from Massenet's Thaïs  was followed by the frisky "C'est l'amour" from Louis Ganne's Les Saltimbanques. The first brought us to tears and the second left us grinning from ear to ear.  And who doesn't love a happy ending!

© meche kroop

SINGING BEATS VIEW

 

  

John Viscardi, Brooke Jones, Yeong Taek Yang, Reed Gnepper, Jason Hwang, Monique Galvāo, Temple Hammen, Laura Soto-Bayami, Xu Cheng, and Maestro Michelle Rofrano

There was that splendid view of the Hudson River but no one was looking. Every pair of eyes and ears were drinking in the magic of young singers sharing their artistry with supporters of Classic Lyric Arts. A few years from now, these audience members are going to be boasting about having heard this artistry before these promising artists will have achieved fame.

Classic Lyric Arts is renowned for guiding young singers by means of intensive immersion programs in France, Italy, and the Berkshires, programs that serve to polish these gems. Artistic Director Glenn Morton is famed for his work coaching aspiring opera singers at all three Manhattan music conservatories; Executive Director John Viscardi, a gifted tenor himself, is a graduate of the programs. The cast of last night's gala comprised both graduates of the programs and some who have been selected to attend this summer. The feeling in the room was one of being with family.

The generous program began with soprano Laura Soto-Bayomi (recently reviewed as star of the zarzuela Luisa Fernanda) and Mr. Viscardi performing "Libiamo" from Verdi's La Traviata,  getting the evening off to a rousing and celebratory start. Later in the program we got a deeper exposure to Violetta in "Sempre libera" as she contemplates a romantic relationship with the importunate Alfredo. All the right emotional highs were hit-- from loneliness, the promise of a loving future, and the rejection of same in favor of a life of pleasure. The necessary vocal technique was all there, including the vocal fireworks of the cabaletta.

No stranger to passionate Italianate singing, Mr. Viscardi would go on to sing De Curtis' "Non ti scordar di me" with admirable dynamic variation. We could have listened to lots more but there were other delights to be heard.

Gastaldon's "Musica proibita" is new to us and we loved the deep emotionality conveyed by baritone Yeong Taek Yang, emotion supported by the same splendid technique we noted in his performances at Manhattan School of Music. He was equally impressive in the prologue to Leoncavallo's I Pagliacci, as he invites the audience to the upcoming show in a manner so persuasive that no one could have refused. His voice is especially enchanting in the pianissimi.

The romantic cabaret style of Francis Poulenc's "Les chemins de l'amour" was beautifully captured by Brooke Jones who showed another side of her artistry in a trio from Giancarlo Menotti's Amelia al ballo. The lighthearted trio "Chi può saper?" included tenor Reed Gnepper and baritone Jason Hwang as lover and husband. There was a perfect balance between the three voices joined in happy harmony.

Soprano Temple Hammen tackled the challenging "Song to the Moon" from Dvorak's Russalka and did so with gorgeous phrasing. Her "O mio babbino caro" from Puccini's Gianni Schicchi was equally pleasing with a sensitively rendered crescendo that served to build the emotional impact.

Mezzo-soprano Monique Galvāo has one of those distinctively textured voices, unlike so many mezzo-sopranos who leave one wondering whether they are really sopranos. This is augmented by some fearless acting that left no doubt that Dalila would seduce Samson in "Mon coeur s'ouvre à ta voix" for which Camille Saint-Saëns wrote the most seductive melody. She evinced the same stunning vocalism in Eric Satie's "La diva de l'empire", but created a very different character. It is always a pleasure to witness a singer with a feel for the character.

An evening would not be complete without the crowd-pleasing duet "Au fond du temple saint" from Bizet's Les pêcheurs de perles. Mr. Gnepper and Mr. Hwang harmonized beautifully and had a fine rapport. We loved the way that they conveyed through their eyes and bodily gestures that they were both staring at their love object.

Accompanist for the evening was the wonderful pianist Xu Cheng whose playing we particularly enjoyed in the Dvorak and the Saint-Saëns. Ensembles were finely conducted by Maestro Michelle Rofrano who has recently become a welcome member of the CLA family.

It was music to our ears to learn that the Musician's Emergency Fund joined Amy Hausknecht and Karen Kelley in their support of this delightful Spring Soirée. We didn't want the evening to end!

© meche kroop

PAST, PRESENT, AND FUTURE

Donata D'Annunzio Lombardi and John Viscardi

On Wednesday evening we were privileged to attend Classic Lyric Arts' "Concert at the Castle" along with a crowd of CLA Supporters, all of whom were delighted to witness the past, present, and future of this estimable program. A warm welcome from Founder and Artistic Director Glenn Morton, well known in operatic circles for his astute coaching and pedagogy in all three NYC music conservatories, introduced us to the myriad achievements of CLA--not only the immersive programs in Italy and France but the newly initiated program in the Berkshires which began last summer, focusing on the operas of Mozart.

Representing the past of CLA was tenor John Viscardi, a major light on American opera stages, who serves as Executive Director of CLA. Mr. Viscardi is an alumnus of both CLA's French program and Italian program; his linguistic facility gives evidence.  He opened the concert program with the tender "Chanson Triste" by Duparc. The performance was marked by perfect French diction (of course) and consummate expressiveness, alternating tender moments with expansive ones. He also closed the program performing a stunning duet with a surprise guest artist; we are going to keep you guessing her identity until the end of the review.

Another alumna of CLA is the lovely Daniela Magura, a beautiful mezzo-soprano with a luscious tone. She showed off her fine French in "Tristes apprêts", an aria from Rameau's Castor et Pollux that was new to our ears.  Her "Habanera" from Bizet's Carmen, on the other hand, is almost overly familiar but we always enjoy hearing a singer whose take on the character is a bit different.  Ms. Magura's Carmen is more subtle than most, so confident in her ability to seduce that she can underplay it, thereby avoiding all the encrusted clichés. What an advantage to hear her diversity in two such different arias and to hear French sung so authentically in Gallic style.  More credit to CLA's French program which she attended twice.

Baritone Jared Werlein is new to us and we are always happy to hear a singer with comedic flair.  He is a student of Mr. Morton at Juilliard and his fluency in Italian surely comes from his prior attendance at CLA's Italian program. We were able to appreciate his ability to go from the well-known classic ("Madamina, il catalogo è questo" from Mozart's Don Giovanni) to a delightful 20th c British song, "The green-eyed dragon" by Wolseley Charles. The lyrics were so clever in their rhymes and the music so tuneful that we plan to search out more of Mr. Charles' music. Mr. Werlein did justice to both styles, more evidence of the versatility that we admire. 

Tenor Michael McDermott, another student of Mr. Morton at Juilliard,  also chose two very different pieces. His Italian selection was the well known and beloved Tosti song "Non t'amo piu" which he sang with Italianate passion and the multiplicity of emotions that the librettist intended. His use of pacing and dynamic variation brought intensity to the performance. Quite different was his more delicate delivery of "Ah, lève-toi soleil" from Gounod's Roméo et Juliette in which he showed an easily produced upper register and pleasing French which will be fine tuned this coming summer at CLA's French program.

New to CLA and representing its future is the beautiful soprano Julianne Casey who also alternated a French selection with an Italian one. "Il est doux, il est bon" from Massenet's Hérodiade was sung with youthful rapture and some lovely resonance in the upper register. We liked the expansive top in "Se come voi piccina" from Le Villi, an early opera by Puccini with which we are unfamiliar. We cannot wait to hear her after her attendance at CLA's Italian program next summer.

And now we will tell you dear reader, as promised, about the stunning surprise climax to the program. One of Europe's most sought after sopranos, Donata D'Annunzio Lombardi, performed the role of Tosca in the first act duet, with Mr. Viscardi as her Mario. We found ourselves captivated not only by the vocal excellence but by the characterization given by Ms. D'Annunzio. We felt as if we really understood Tosca, not only her devotion to Mario but the insecurity that underlay her display of jealousy and the good will that allowed her to turn the jealousy into a little tease.

Ms. D'Annunzio Lombardi is on the faculty of CLA and brings to their programs a very unusual method of teaching, the likes of which we have never seen. Suffice it to say that the changes wrought by her tutelage have been astonishing. We have the greatest respect for results and for those master teachers that add value. Students can consider themselves extremely fortunate to fall into her hands.

The collaborative pianist for the evening was the gifted Xu Cheng who never fails to keep pace with the singers and permits all of them to shine in their own fashion.

We advise keeping an eye on Classic Lyric Arts.  Their history is significantly worthwhile, their present shows the flexibility demanded by the Covid pandemic, and they have a brilliant future as they expand in new ways, some of which are in the works and some of which we foresee in our crystal ball.

If you, dear reader, care to see photos of the event, they will be on our FB page--Voce di Meche.

© meche kroop

NEW AMSTERDAM OPERA'S FALL FLING

Pianist Mark Cogley, John Viscardi, Holly Flack, Ta'u Pupu'a, and Kirsten Chambers

Beginning their third season, New Amsterdam Opera has exciting plans for the year and began with a festive salon in the home of a generous supporter.  This young company, helmed by Maestro Keith Chambers, deserves the support of the opera community.  We are speaking to you, dear reader! If you love opera and want the art form to survive, you will have to step up to the plate. Many of our most gifted young singers take off for Europe where opera gets a lot of support.  Let's keep them here by supporting the small companies that give them roles and stage experience!

That being said, we love NAO for supporting young singers and casting them alongside more experienced singers; we love them for bringing to the public underperformed works by the great composers; we love them for making opera accessible to underserved populations.

Last night's salon was a rare opportunity to hear some of today's finest artists up close and personal in a relaxed and comfortable environment.  The four artists performed three sets of three selections each. In between sets there were food and drinks and socializing. What more could one ask for!

We heard the oft reviewed soprano Kirsten Chambers sing in Italian for the first time and loved the sound. We heard soprano Holly Flack for the first time. We enjoyed being blown away by tenor Ta'u Pupu'a's huge sound. We witnessed the completion of John Viscardi's transition from terrific tenor to mellow baritone.  All were excellent.

The two gentlemen opened the program with the final act duet from Puccini's La Bohème--"O Mimi, tu più non torni" in which Rodolfo and Marcello sing of their lost loves. Mr. Viscardi was highly persuasive as Silvio imploring Nedda to run away with him in a scene from Leoncavallo's Pagliacci; Ms. Chambers found a great fit for her voice here and we loved their performance, imbued with passion and chemistry.

Mr. Viscardi got another opportunity to be persuasive as Don Giovanni trying to seduce Zerlina, winningly portrayed by Ms. Flack.  They also enacted the Papageno-Papagena Duet from Mozart's Die Zauberflöte, which we would have preferred in German.

Ms. Flack had two exceptional solos--in "Glitter and Be Gay" from Bernstein's Candide, we loved her use of vibrato and the accuracy of her coloratura.  In Ophélie's Mad Scene from Thomas' Hamlet she did justice to the many moods by means of vocal coloration. There were some gorgeous vocalises and smoothly rendered portamenti. The high B at the end might have shattered some crystal!

Puccini's Turandot requires some large voices and Ms. Chambers and Mr. Pupu'a filled the bill in the tension laden riddle scene with pianist Mark Cogley filling in for the crowd of peasants. Mr. Pupu'a makes a splendid Calaf, stageworthy with "Nessun Dorma".

Mr. Viscardi's solo was Danilo's Aria from Franz Lehár's Die Lustige Witwe in which he describes his flirtations with the famous Lolo, Doudou,and JouJou. Yes, he can do rakish; we'd like to hear it in German!

Ms. Chambers' solo was "Zweite Brautnacht" from Richard Strauss' Die ägyptische Helena, in which Helen celebrates her reunion with Menelaus. This work was made famous by Leontyne Price and we were happy to hear Ms. Chambers filling her shoes. 

We left fully satisfied by the artistry, the warm fellowship of the NAO's supporters, and the generous buffet.

Consult New Amsterdam Opera's website for more information. But here's a wee hint--if you ever wanted to see Massenet's Herodiade, save May 10th!

(c) meche kroop

WINNERS ALL AT THE GEORGE LONDON COMPETITION

Nora London surrounded by a bunch of winners!

The George London Foundation has been generously awarding grants to young singers for 45 years now. Nora London has done a fantastic job of honoring the memory of her late husband.  Last Friday afternoon six eminent judges awarded $73,000. to the 23 finalists, culled from a field of 85 applicants.

The overall quality of the performances exceeded our expectations from prior years. We generally put a star on the program next to the name of the singers we like the best.  By the time we starred the first four singers we realized there was no point trying to second guess the judges. We are glad we were not called upon to put one performance above another.  For those readers for whom the amounts of the awards are of interest, we refer you to the press release...

http://www.wadacommunications.com/wp-content/uploads/2016/02/Winners-Announced-for-George-London-Foundation-45th-Annual-Awards-Competition-February-19-2016.pdf 

For our part, we prefer to share with readers our own impressions without regard to the level of the award. Our bias is toward singers who relate to the text and can communicate that to the audience. Having spoken to some of the singers we believe that the singer does best if he/she loves the song.  Each singer submits a list and then is told what the judges wish to hear.

So...here goes! Soprano Jacqueline Piccolino wowed us from the first second with her thrilling sound, a garlic-scented dramatic coloratura, an unusual fach to be sure.  She performed "Bel raggio lusinghier" from Rossini's Semiramide with marvelous flexibility in the cabaletta and a true diva's command of the stage.

This year there was no shortage of big voices. One can always count on soprano Marina Costa-Jackson for a fine performance and she showed her stuff with the heart-breaking "Morrò, ma prima in grazia" from Verdi's Un ballo in maschera.

Antonina Chehovska used her wonderful soprano for the challenging "Letter Scene" from Tchaikovsky's Eugene Onegin. She mined every phrase for dramatic meaning and conveyed all the passionate intensity of a young woman in the throes of first love.

Lighter sopranos were also in evidence and we loved Claudia Rosenthal's "Non monsieur mon mari" from Poulenc's Les mamelles de Tiresias. It was an unusual choice but it gave full access to her vibrant personality and acting skills.

Another lovely performance in French was that of mezzo-soprano Cecelia Hall who filled "Oh! La pitoyable aventure!" from Ravel's L'heure espagnole with plenty of humor.

Soprano Kirstin MacKinnon excelled in the "Jewel Song" from Gounod's Faust and used her bright instrument effectively, bringing the aria to a stunning climax. 

Mezzo-soprano Shabnam Kalbasi performed "Nacqui all'affano...Non più mesta" from Rossini's La Cenerentola with a lot of charm and evenness throughout the wide-ranging skips and jumps.

Considering the male singers, baritone Steven LaBrie performed "Pierrot's Tanzlied" from Korngold's Die Tote Stadt with a great deal of feeling and artistry to swoon over.

Bass Colin Ramsey was simply wonderful in "The Catalog Aria" from Mozart's Don Giovanni. We haven't heard him sing since his undergraduate days at Manhattan School of Music and were thrilled to hear how his voice has developed.

Speaking of developing voices, we detected something new and exciting in the baritone of John Viscardi who filled the room with glorious sound in "Avant de quitter ces lieux" from Gounod's Faust. He sang with an enviable legato and wisely modulated the dynamic intensity in accordance with the text.

Baritone Sean Michael Plumb used his rich voice and dramatic skills in "O Carlo ascolta...Io morro" from Verdi's Don Carlo.  It was most convincing.

Baritone David Pershall sang "Starbuck's Aria" from Heggie's Moby Dick with power and eloquence, sensitive to the character's moral dilemma.

Bass-baritone Michael Sumuel sang "Blick'ich umher" from Wagner's Tannhäuser and pleased us with his breadth of tone.  The dynamic variety was well achieved and there was some lovely delicacy in the pp passages.

Baritone Jared Bybee sang "Vision Fugitive" from Massenet's Herodiade with lovely alternation between intensity and delicacy.

Craig Rutenberg was the accompanist for the singers and one could not have wished for better. We particularly enjoyed his playing of Wagner and Tchaikovsky.

We have heard the future of opera and we are not worried.  Au contraire, there are plenty of superlative artists.  All we need are the companies to employ them!

(c) meche kroop

A GERDA LISSNER CELEBRATION

WHAT A GROUP OF ARTISTS!!!

Yesterday's recital of winners of The Gerda Lissner Foundation International Vocal Competition offered immeasurable delights. Somehow it felt more like a celebration than a recital. We celebrate the largess of the foundation that awarded a most generous $238,000 this year to 17 young artists who were chosen from among the 330 who auditioned.

We celebrate the rapid ascent of these dedicated young singers who put in so much time and effort to share their love of opera with the grateful audience.  And we also celebrate the fact that we are a community, a family of opera lovers who can gather together and share our joy.

The host for the evening was Brian Kellow, Features Editor of Opera News. The well-loved Diana Soviero presented a lifetime achievement award to Lenore Rosenberg who, among many other gifts, is a fine judge of competitions worldwide.  She spoke briefly but every word she said was valuable and we wish to quote her.

What she said was "It's not the kind of voice a person has but the kind of person who has the voice." She spoke about the balance among vocal quality, technique, and expressiveness.  She spoke about the single mindedness that makes for success in this difficult field.  The ones who make it are those who never consider an alternative career. They sing because they must.  That's what they do! She gave us a lot to think about and we are grateful for it.

We heard sixteen singers in a space of two hours and, although everyone was at least good and most were excellent, a few stood out for various reasons. Sometimes it's someone we've never heard. Sometimes it's someone we have been writing about for several years and have always loved. And sometimes it's someone who has made great strides since we heard them last.

The first singer who comes to mind is Mingjie Lei. And why? Because his delivery of "Una furtiva lagrima" produced una furtiva lagrima in our eye! We have heard Donizetti's star-making aria from L'Elisir d'Amore countless times but never felt such an identification with Nemorino.  Mr. Lei's Nemorino didn't come across as a doofus but as a very real person who is about to realize his deepest dream. We saw the situation through his very eyes.

Soprano Kiri Deonarine dazzled our ears with "The Bell Song" from Delibes' Lakme. It was the sheer force of her technique coupled with a singular coloratura instrument that blew us away. Such pinpoint accuracy in her wild flights into the stratosphere! Such perfectly executed trills and scales and fioritura !

Marina Costa-Jackson impressed us with her versatility. We have reviewed her often and love the generous amplitude of her voice, her assurance onstage and the way she slips into her character as she did into that of Amelia in Verdi's Un Ballo in Maschera. The sad aria "Morró, ma prima in grazia" affected us deeply.

Bass Patrick Guetti tackled the severity of "Il lacerato spirito" from Verdi's Simone Boccanegra with aplomb and fearlessness. The note he ended on, at the very bottom of his register, was unforgettable. He is still very young for a bass and has enormous potential.

We admired baritone Jared Bybee's Rodrigo in "Io morro" from Verdi's Don Carlo.  The sense of dying for a higher purpose came through clearly in his stunning performance.

Baritone John Viscardi threw himself into Figaro's "Largo al factotum" from Rossini's Il Barbiere di Siviglia and used the entire stage and his ample dramatic skills to create a complex character overwhelmed by his own busyness. (Oh, how we could relate!)

Lovely mezzo-soprano J'nai Bridges brought out all the delicacy of "O ma lyre immortelle" from Gounod's Sapho. She has a wonderful instrument that she employs judiciously, carefully modulating both volume and color.

We loved the gracious phrasing baritone Jarrett Lee Ott brought to "Mein Sehnen, mein Wähnen" from Korngold's Die Tote Stadt. We understood every single word of his flawless German diction.

Soprano Nicole Hazlett made the perfect fairy godmother in Massenet's Cendrillon. Her "Ah! douce enfant" was shimmery and ethereal.

Soprano Kirsten Mackinnon filled the air with chills and thrills as she performed the "Jewel Song" from Gounod's Faust.  Her French diction was excellent, even at the top. We do so love good coloratura!

Bass Wei Wu gave a solid rendition of the stately "O Isis und Osiris" from Mozart's Die Zauberflöte.  His sizable voice filled the hall and sounded far more impressive than it did yesterday in the small recital hall of the American Opera Center.

Baritone Michael Adams is a stage animal--totally assured with both the Russian language and with his character Tomsky from Tchaikovsky's Pique Dame. We look forward to hearing him at the Santa Fe Opera this summer.

Baritone Reginald Smith Jr. stood out for his convincing performance as The Emperor Jones in the eponymous opera by Gruenberg.

We have not distinguished between the various levels of prizes awarded. That information is available elsewhere and matters little to us. What matters to us is the opportunity to share a glorious experience with our fellow opera lovers.

(c) meche kroop

NYOE GETS LUCIA RIGHT

Adam Fieldson, John Viscardi, Sarah Beckham-Turner, Alden Gatt, Joseph Michael Brent and Antoine Hodge

Lucia di Lammermoor is a sensational opera.  Onto Salvadore Cammarano's libretto, Gaetano Donizetti lavished endlessly glorious melodies.  It is so precious to us that we doubly value a company that does it justice and would malign one that trivializes it in any way.  We are delighted to report that New York Opera Exchange has gotten it right and if you are fortunate enough to snag one of the few remaining tickets for today's matinee, you will probably send us flowers or chocolate in gratitude for the tip.

The success of the opera rests heavily on the shoulders of the eponymous tragic heroine whose mad scene is one of the finest in all operadom.  Last night, soprano Sarah Beckham-Turner tore into the demanding coloratura of the scena with wild abandon.  She was completely convincing as a fragile creature completely unhinged by the machinations and manipulations of her politically desperate brother.  Her gown spattered with blood and her hair undone, she immersed herself totally in the role. Every gesture and flight of fioritura was spot on. Who could ask for anything more! This young woman will surely go places in the opera world.

As said conniving brother, baritone John Viscardi was superb. His recent switch of fach from tenor to lyric baritone was a wise one.  His voice sat comfortably in this range, enabling him to focus on a well-rounded interpretation of the role of Enrico, far better than the nasty sneering interpretation we are accustomed to hearing.  He seemed like a fairly decent fellow who was pushed by circumstances into doing bad things.  His remorse in witnessing his sister's downfall seemed authentic and allowed the audience to have some pity for his position.

As Lucia's ill-fated lover Edgardo, tenor Joseph Michael Brent sang well and exhibited all the requisite emotions except for one; we wanted to see some tenderness toward Lucia in their initial scene together to explain why she would have defied her family to pledge her love to him.  He did much better in the scene in which he returns from France to find Lucia married to Arturo and bristled with anger. 

Bass-baritone Antoine Hodge was the voice of normality in this power-crazed family, giving substance to the role of Raimondo, the family's spiritual counselor.  Captain of the Guard Normanno was the character who set the tragedy in motion by spying on Lucia's encounters with Edgardo and then egging on the brother Enrico.  Tenor Adam Fieldson overcame the natural sweetness of his instrument and lent sneering arrogance to the part.

The role of Arturo was finely sung by tenor Vincent Festa and mezzo-soprano Chelsea Laggan did well as Alisa, Lucia's companion who warns her to stay away from Edgardo of Ravenswood, enemy of her clan, the Lammermoors.

Conductor Alden Gatt deftly led the full orchestra through their paces. There was some fine work during the mad scene by flutist Felipe Tristan, and the wind chorales which opened several scenes were powerful.  A keyboard sufficed for the harp.There were a few times when the size of the orchestra overpowered the singers, likely due to their placement on the same level as the audience.

The effective direction was by Christopher Diercksen; the pace was kept up and the story moved along briskly.  There was no set to speak of but it wasn't missed.  Taylor Mills' costuming was minimal.  Street clothes seemed to be the order of the day with motley plaid sashes on some of the cast members. We would have liked to see all the men wearing the same plaid to indicate membership in the same clan, with Edgardo wearing a different plaid.  This would have emphasized the substance of the tragedy--the destructiveness of rivalry with and hatred of "the other", a feature that still exists in many parts of the world.

We wish to counteract the claim that "opera is dying" with the observation that opera is alive and well in the hands of small companies like New York Opera Exchange which rely on talent rather than "big names".  We similarly wish to counteract the claim that "opera is for old folks" with the observation that the packed house at The Church of the Covenant on 42nd St. comprised mostly 20-somethings.

We are already anticipating NY Opera Exchange's production of Carmen in May.

(c) meche kroop

GIULIO GARI ANNUAL GALA WINNERS RECITAL

GIULIO GARI

The memory of this fine tenor lives on by virtue of the admirable work of The Giulio Gari Foundation; they provide awards, grants and performance opportunities to young singers on the cusp of major careers.  Few opera goers acknowledge the intense hard work that goes into career development and the high cost of lessons and coaching. We witness the end results and neglect the means.  It was up to Stephen De Maio and Licia Albanese to get together with Gloria Gari to honor Mr. Gari's memory in the best way possible, ensuring that the baton will be passed to younger generations.

The Giulio Gari Foundation presented their awards yesterday to as fine a group of young singers as we have heard. As a matter of fact we have been fortunate enough to have heard many of them before and were thrilled to have the opportunity to hear them again. . The winners we heard deserve every accolade they received. The foundation chose wisely and well; needless to say, each singer chose his/her material wisely and well, with an eye to showing off his/her own particular vocal range and style.  Piano partners Arlene Shrut and Mikhail Hallak partnered the singers with panache and versatility.

First prize winner Marina Costa-Jackson was saved for last. Without drawing any comparisons, let us just say that her family has astonishing musical genes which, along with dedication and hard work, resulted in a stirring performance of  "Stridono lassu" from Leoncavallo's I Pagliacci; her gorgeous soprano evoked the flight of birds so envied by Nedda whose life is constrained, to say the least.  As she began, her rich low notes suggested those of a mezzo but then her voice soared into the sky with the most gorgeous vibrato and top notes.

Second prizes were won by Michelle Johnson and Chloe Moore, both sopranos.  Ms. Johnson sang "Io son l'umile ancella" from Cilea's Adriana Lecouvreur and caressed each word and phrase with her silky sound which opened up beautifully in the crescendo.  Ms. Moore used her bright and shiny voice in "La Gavotte" from Massenet's Manon.  When she opened up at the top of the register we thought all the glasses in the room would break.

The brilliant bass-baritone Musa Ngqungwana, third prize winner, performed "Riez, allez, riez du pauvre ideologue" from Massenet's Don Quichotte with a big round tone and fine French diction.  We made sure to learn how to pronounce his name because we are going to be hearing a lot more from him.

Fourth prize was won by the excellent baritone John Viscardi who sang "Ya vas lyubil" from Tchaikovsky's Pique Dame; his performance was filled with Russian soul.  Oh, how we dearly love Tchaikovsky!

Fifth prizes were won by sopranos Elise Brancheau and Ewa Plonka Nino.  Ms. Brancheau performed Micaela's aria "Je dis que rien ne m'epouvant" from Bizet's Carmen.  Her fine vocalism and acting captured the faith-based courage of her character.  Ms. Nino did justice to "Acerba volutta" from Cilea's Adriana Lecouvreur. We enjoyed her pianissimo as much as the grand crescendo in which she spun a beautiful tone.

Grant winners were also on the program and every single one excelled.  Bass-baritone Leo Radosavljevic captured Figaro's outrage with his fine voice and expansive personality as he performed "Aprite un po' quegl'occhi" from Mozart's Nozze di Figaro (which we heard at the Metropolitan Opera and reviewed last night).

Soprano Liana Guberman and tenor Riad Ymeri harmonized perfectly in the tender duet "O soave fanciulla" from Puccini's La Boheme.  We enjoyed the depth of feeling they expressed.  We fondly recall Ms. Guberman's beautiful realized Mimi last season at Loft Opera.

Another brilliant duet was performed by soprano Mia Pafumi and tenor Mingjie Lei--"Una parola, O Adina" from Donizetti's L'Elisir d'Amore. Their characterizations were as admirable as their voices, both of them fearlessly tackling the fioritura. Both have sweet light voices, perfect for those roles.

We loved the way mezzo Shirin Eskandani realized the character of Rosina as she performed "Dunque io son" from Rossini's Il Barbiere di Siviglia; she tore into the fioritura with gusto. Her Figaro was the fine baritone Christian Bowers; his reactions were priceless.   Instead of writing notes, they sent messages to Lindoro via cellphone.  The audience loved it.

The fiery duet from Donizetti's Anna Bolena--"Ah! Qual sin cercar non oso" was well performed by mezzo Lisa Chavez and baritone Jarrett Ott.  We always love a good bel canto duet and last evening we reveled in an embarrassment of riches.

Last but by no means least, we thrilled to the sound of trumpets.  That is we thrilled to the sound of "Suoni la tromba" from Bellini's I Puritani.  What thrilled us particularly was the big bass sound of Patrick Guetti and baritone Jamez McCorkle. Mr. Guetti, whose performances  we have enjoyed on several occasions, strikes us as one of those "stage animals" from whom one cannot takes one's eyes and ears.

Not only were we thrilled by the quality of the entertainment but we had the pleasure of experiencing the honoring of two renowned singers who have contributed so much to young artists--Marilyn Horne and Richard Leech, both of whom had interesting things to say.

And then...as they say...dinner was served. We would like to honor The Giulio Gari Foundation for their generous contribution to the world of opera.

(c) meche kroop

WITH FRIENDS LIKE THESE....

The honorable Maestra Eve Queler was honored Sunday afternoon by the Musicians Emergency Fund in a thrilling recital involving her "family and friends".  If you love hearing artists on the brink of stardom as much as we do, you were there and shared our joy in witnessing their well-deserved and enthusiastic applause.

The four rising stars, prize winners all, were soprano Sydney Mancasola, tenor Diego Silva, tenor John Viscardi and baritone Takaoki Onishi--all helped along their career pathway by Maestra Queler.  Their performances yesterday indicated that they were each more than worthy of her attention.

The first half of the program was heavily weighted in the bel canto direction, to our delight.  Mr. Onishi distinguished himself with his superb control of dynamics in "O Lisbona" from Donizetti's Don Sebastiano.  Mr. Silva lent his sweet tenor to "A te, o cara" from I Puritani, spinning out Bellini's long gorgeous melodies with excellent phrasing.  Ms. Mancasola showed a fine facility for French in arias from Massenet's Manon; her diamantine voice was focused and her acting convincing--this Manon truly conveyed the impression of abandon.  Sticking with Massenet, Mr. Viscardi, with his warm sound and excellent French, gave a moving version of "Pourquoi me réveiller" from Werther

The only German aria on the program was Korngold's "Tanzlied" from Die Tote Stadt; Mr. Onishi demonstrated a facility with German as well as with the waltz rhythm.  "Angelo casto e bel" from Donizetti's Il Duca d'Alba gave Mr. Silva an opportunity to show off his impressive Italianate quality.  Ms. Mancasola returned with a deeply felt rendition of "O quante volte" from Bellini's I Capuleti ed i Montecchi; she set the air to vibrating in the receptive Alice Tully Hall.  Mr. Viscardi brought this part of the program to a rousing close with Offenbach's Kleinzach song from Les Contes d'Hoffman.

But no, it was not over yet!  Ms. Queler's daughter Liz came onstage with her husband Seth Farber and their son Joey.  The audience was treated to three selections from a project of theirs entitled The Edna Project in which they set poems of Edna St. Vincent Millay with Mr. Farber playing a jazzy piano score,  Liz Q. playing guitar and mandolin with a folky flavor and young Joey providing the rhythm.  It was an unexpected treat, particularly since the music and words supported each other to an impressive extent.  This is not something we hear often in contemporary music.  We were delighted with the three-part harmony.  If only every American family could make music like this!

The second half of the program was devoted primarily to Verdi.  Mr. Onishi's "Per me giunto...O Carlo, ascolta" was performed with enough baritonal heft that we can readily see him as the next Verdi baritone, which, in our eyes, is far more important than being a "barihunk", although the handsome Mr. Onishi readily qualifies for that designation as well.  Four selections from Rigoletto followed and Mr. Viscardi made a fine arrogant Duke, causing the audience to go wild.  Ms. Mancasola made a lovely Gilda and negotiated the tricky upward leaps, trills and fioritura of "Caro nome" with consummate aplomb.  In her duet with Mr Silva, the two of them had a touching chemistry and ear-pleasing vocal blending.

Ending the program with Bizet's "Au fond du temple saint" from Les Pêcheurs de Perles was a masterstroke; Mr. Silva and Mr. Onishi made a fine pair.  But the concert was not yet over!  All the singers joined for "Libiamo" from Verdi's La Traviata and we left Alice Tull Hall ready to toast to pleasure in all its forms.

© meche kroop