MET NATIONAL COUNCIL FINALS

Theo Hoffman

Sol Jin

Jakub Jozef Orlinski

Sean Michael Plumb

Brian Vu

Our passion is witnessing the development of young artists and we can think of no greater thrill than seeing them on the stage of The Metropolitan Opera. You will have to look on the Met website to learn whom the judges chose from among the nine finalists.  We prefer to write about the young artists that we have been following right here in New York. They are all winners!

Each young artist had the opportunity to show off two contrasting arias, one in each half of the program.  Baritones were  prominent with Jakub Jozef Orlinski the sole countertenor.  The pure angelic quality of his instrument is ethereal. Although his "I know a bank where the wild thyme blows" from Britten's A Midsummer Night's Dream was excellent, we preferred his "A dispetto d'un volto ingrato" from Handel's Tamerlano since it gave him such an opportunity to show off his crisp fioritura.

And now to our four magnificent baritones! Sol Jin evinced a noteworthy mature coloration and was most convincing as Germont Père in "Di Provenza il mar" from Verdi's La Traviata; the dramatic impact of his acting was substantial. Later, hearing him in Russian was a special treat--"Ya vas lyublyu" from Tchaikovsky's Pique Dame. He could definitely handle both roles.

Theo Hoffman was incredibly moving as he filled "Mein Sehnen, mein Wähnen" from Korngold's Die Tote Stadt with a depth of longing and nostalgia that went straight to the heart. There is something very special about his vibrato. He was also excellent in "Dieux! qui me poursuivez" from Gluck's Iphigénie en Tauride in which he displayed his forceful side.

Sean Michael Plumb had a lovely tonal quality in "Bella siccome un angelo" as he tried to "sell his sister" in Donizetti's Don Pasquale. His voice swelled to an impressive climax. His Russian, in an aria from Tchaikovsky's Iolanta, was superb.

Brian Vu used his entire body to convey the dashing personality of Figaro in his "Largo al factotum" from Rossini's Il Barbiere di Siviglia. His versatility was evident when he showed his serious side in "Avant de quitter ces lieux" from Gounod's Faust.

The other winners were all superb and we cannot recall a year with such fierce competition. The nine finalists were winnowed from a field of 1500 representing 42 cities. What an achievement to get to sing on the stage of the Met!

(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.

(c) meche kroop

A CHRISTMAS TREAT FROM MSM

Maestro Thomas Muraco and the cast of Hansel and Gretel at Manhattan School of Music

We like to ask people we meet to name their favorite opera.  No one has ever named Engelbert Humperdink's Hänsel und Gretel and we find that curious.  It is gloriously melodic with many tunes derived from German folk music; the story is charming and based on a fairy tale by the brothers Grimm; it has a happy ending; it offers some excellent roles for sopranos, mezzos and a baritone; and it doesn't require a tenor!  Not that we have anything against tenors.

It was 1891 when the composer's sister Adelheid Wette (sounds like a good name for one of the Walkyries) suggested she set some of her poetry to music and he wound up writing a full-fledged opera.  In 1893 none other than Richard Strauss conducted it, followed soon after by Gustav Mahler.  It found its way to the USA by the following year and has been in the repertory ever since.  We have mostly heard it sung around Christmas time and in English, perhaps so that children could attend; we have nothing against children (well, not much) but were delighted to hear the opera sung in German at the Manhattan School of Music, conducted by none other than the celebrated Maestro Thomas Muraco.  Just watching his intense involvement and enthusiasm left no doubt that he loves this work as much as we do.

In place of an orchestra, the accompaniment was provided by two pianists, George Hemcher and Kira Whiting, with significant contributions from harpist Yeon Hwa Chung and violinist Jacob Bass. There is a satisfying cohesion to this work with themes occurring and reoccurring throughout the evening.  The overture begins with a statement of the Abendsegen, the Evening Prayer, followed by a plethora of contrasting themes which are developed in a manner suggestive of the first movement of a symphony.  We even heard echoes of Schubert's "Ave Maria".

Maestro Muraco's Opera Repertoire Ensemble has some pretty amazing performers on its roster.  We heard seven fine young singers last night and if you are fortunate enough to acquire tickets for Friday night you will hear six different ones with only one repeat--Helena Brown,m a big girl with a big voice making a big impression as the Witch.  The girl has other talents, having done a creditable job on the make-up for the Sandman (Jessica Fishenfeld) and the Dew Fairy (Cherissia Williams) as well as for herself.

Gretel was sung by soprano Bryn Holdsworth, dressed in a pinafore, coiffed in braids and pouring out some gorgeous sounds. Hänsel was finely sung by Kendra Broom who wore one of those ubiquitous animal hats and was totally convincing as a boy.  The two "children" behaved just as siblings do in real life--squabbling, teasing, complaining about doing chores and being hungry; it had a most authentic feel.  When the step-mother (Elizabeth Novella) comes home, she is tired and cranky and feeling guilty about her hungry children.  She sends them to the forest to pick berries.

And then....father comes home drunk (BOO!) but loaded down with goodies (YAY!) since he has sold all his brooms.  Baritone Sol Jin gave a superlative performance with a warm rich sound to his voice and impressive stage presence.  The German diction was so accurate that one scarcely needed to glance at the titles.

The angels that watched over the children were dressed all in white and made a fine chorus.  The production was altogether excellent and we recommend it highly.  Maybe we will run into YOU next week or next month and ask YOU to name your favorite opera.  It just might be this one!

© meche kroop