GABRIELLA REINA

 Andrés Sarre and Gabriella Reyes

Soprano Gabriella Reyes is, yes, every inch a queen and the adoring audience comprises her loyal subjects. She rules by means of a generous instrument with many colors, by means of supernal audience rapport, by means of a deep understanding of the text, and by means of that intangible Latin American soul, a quality that manifests in most Latin American music.

We love hearing emerging artists at the inception of their careers and then, sadly, we lose sight (and sound) of them as they make their way through opera stages around the country and around the world. It is a cause for celebration when they return to New York City and we can bear witness to the fulfillment of their potential.

In the case of "La Reina" we first heard her at the Metropolitan Council National Competition Finals eight years ago when she dazzled the audience with "Il est doux, il est bon" from Massenet's Herodiade and took a leap into the then-new territory of Daniel Catan's Florencia en el Amazonas. We made note of the ear-thrilling upper register and fine vibrato.

Her acceptance into the Lindemann Program gave us two further opportunities to hear her facility with different repertory. We recall some Strauss songs which fit her large voice like a glove, and a couple performances of "Carceleras" from Chapi's Las hijas de Zebedeo--memorable because we are so fond of of zarzuela, so fond that we sat in the summer rain to enjoy it.

And we heard Ms. Reyes the following summer at the Santa Fe Opera where she made quite a sensation as an ice-skating Musetta in Puccini's La Bohême. Is there anything this versatile artist cannot do? Now that we have stirred the pot of our memory we recall a very moving performance of Liu's aria "Tu che di gel sei cinta" from Puccini's Turandot.

Last night, gracias a Dios, she returned to New York City for her first solo recital (coulda fooled us on that point) at Carnegie Recital Hall. Most recitals attempt to show off the singer in a range of styles and languages, but Ms. Reyes is no ordinary artist. She held the audience captive with a well curated program of Spanish songs, most of which were new to us. Along with her superb collaborative pianist Andrés Sarre, she treated us to songs from all over Latin America--from Argentina, Mexico, Brazil, and Peru. We even heard songs sung in Quechua, a language we don't understand but one we recognize since a Peruvian friend has sung for us in that language. 

Each song brought out a different aspect of Ms. Reyes' vocal technique, here a very expansive upper register, there a deeply affecting vibrato, here a significant pause, there an exquisite pianissimo.  But each song was melodic, reminding us that the lamentable influences of serialism and atonalism that infected 20th century vocal music in Europe and the United States was nowhere to be heard. The Latin American soul is too sensual and passionate to fall for such intellectualism. Most of these 20th century composers made good use of folk music and refined it with European technique.

We did have a couple favorites and our top choice was the second encore, a delightful song extolling the virtues of Ms. Reyes' ancestral homeland--Nicaragua; it is said to be Nicaragua's unofficial anthem. Another favorite was Victor Carajo's "La niña de Guatemala" in which the poet José Marti tells a story that would make a fine opera. The poet describes a funeral and alternates verses about how a married lover broke the girl's heart.  There was another song by Enrique Soro entitled "Storia d'una bimba" in which the poet Angelo Bignotti relates, in Italian, a tender story that seems to tell of a man who watches a beautiful little girl grow into womanhood. The coloration of the music and voice suggest a tinge of sorrow or nostalgia as the poet watches someone else kissing her forehead as he used to. 

It's only been about a year or two since Ms. Reyes' notable gifts brought her back to sing at the Metropolitan Opera. How fortunate we feel to have experienced these gifts "up close and personal". A solo recital is truly a glimpse into the heart of an artist. We loved what we saw and heard!

© meche kroop

ELENA VILLALÓN

Craig Terry and Elena Villalón

 It hasn't even been two years since we heard a lovely soprano at the George and Nora London Foundation Competition Awards Recital. Her name is Elena Villalón and we were very impressed with her Sophie (from Strauss' Der Rosenkavalier) and longed to hear more of her. Last night our wish was granted at the Weill Recital Hall of Carnegie Hall (an intimate theater just right for an intimate vocal recital) when this charmer sang her heart out for a most appreciative audience.

It has been fourteen years since we first heard baritone Will Liverman at an Opera Index Award Recital Concert. We weren't even writing reviews then and we cannot remember what he sang but we were thrilled to our toes to present him with an award. We have reviewed him a dozen times since, both here in New York City and also at the Santa Fe Opera. What we didn't know is that he has been composing (who better to write for the voice than a singer?) and offered a most interesting work to be performed by our lovely Ms. Villalón! 

The first half of the program was just fine, centering on the European tradition of the aubade (early morning love song) as conceived by composers from the second half of the 19th century to the first half of the 20th. Songs were chosen carefully, featuring those with Spanish inflected melodies, giving the program a sunny romantic feel. 

Bizet's "Ouvre ton coeur" from his Vasco de Gama made for a strong opening with its expansive melodic line and rhythmic thrust. We may as well point out right from the start the close and effective partnership between the singer and collaborative pianist Craig Terry who never sacrificed his own personal style but managed to be constantly in tune (so to speak) with Ms. Villalón. There were some lovely contributions from Ravel and Rachmaninoff and we even managed to enjoy Olivier Messiaen's. "Le collier", such were the interpretive gifts of our soprano, undaunted by some high tessitura and Russian consonants. 

She possesses a lovely instrument which we enjoyed even more during the second half of the program which was sung in Spanish. Regular readers will recall how fond we are of the singability of Spanish and of the tendency of Hispanic composers to eschew academic movements and retain the gorgeous melodies that tickle the ear and linger in one's memory.

Represented were the Argentinian composer Carlos Guastavino, two Catalan composers (Fernando Obradors and Xavier Montsalvatge), Mexican composer Maria Grever, and, honoring our soprano's Cuban heritage, Ernesto Lecuona.

Although we loved every selection, a few are dear to our heart. We never let a Latin American singer depart from our salons without singing Grever's "Te quiero, dijiste", a very personal and tender song in which Grever's artistry both incorporates and transcends her grief at losing a child.

Another favorite of ours is Obradors' "Del cabello mas sutil" from his Canciones classicas Españolas. It is here that we must mention that, in agreement with Steven Blier, we draw no lines between the art song, the folk song, and the popular song. There are only good songs and bad ones.  Last night we heard only good ones with each and every one given the same artistic respect. 

Montsalvatge's "Canción de cuña para dormir a un negrito" from Cinco canciones negras manages to be not only a gentle lullaby but a subtle commentary on colonialism.

To ice this Spanish cake, we had two encores: Grever's "Jurame" and "Somewhere Over the Rainbow" by Harold Arlen with lyrics by Yip Harburg. This hopeful closing went a long way toward relieving the anxiety and despair over the current political climate.

And now, Dear Reader. let us tell you about the impressive creation of Mr. Liverman. Having avoided contemporary music, we have been completely unaware that a beloved singer has been creating some superb vocal music! Last night was a premiere of his recent settings of poetry by Pablo Neruda and a brief but pungent verse by Costa Rican poet Jorge Debravo (misspelled in the program as Debrayo) whose life was tragically cut short before he reached the age of thirty. If this verse "Eternidad" were all he left behind (it wasn't), his brief life mattered. He conveyed so much feeling in five lines; Mr. Liverman evoked it in his vocal line and Ms. Villalón and Mr. Terry brought the page to vivid life.

It appears that Ms. Villalón's star is on the rise with many awards and worldwide engagements. We felt grateful for another opportunity to hear her and also grateful to catch up with Mr. Liverman's multipotentiality.

This excellent concert was part of Carnegie Hall's celebration of the influence of Latin Music and poetry in the USA--Nuestros sonidos.

© meche kroop

SAFFRON AND DUKKAH

 

Rafael Aguirre and Fatma Said

A welcome departure from the typical voice/piano recital of German/French art songs brought a sell-out crowd to Weill Recital Hall last night. What could better suit a scintillating soprano in partnership with a master of the guitar than a program of songs originating in Spain-- with a sprinkling of Arabic and Sephardic songs to celebrate the mosaic nature of Spanish history.

Just as one could not visit Granada without appreciating the wonders of The Alhambra, one cannot listen to Spanish music without hearing the strains of Romani, Sephardic, and Arabic melodies and rhythms. A post-concert reading of Harry Haskells's scholarly program notes was most enlightening, tying together Spanish history and culture as they affected Spanish music.

But let us focus on what our ears told us! Celebrated and much recorded Egyptian soprano Fatma Said was the perfect choice for this music and her warm inviting manner drew us into her world. The instrument is crystalline and pure of tone and more than usually expressive. If there were one minor failing we noticed that the beginnings of some songs were a bit low in volume but by the second phrase had achieved suitable dynamics. 

There were times when we wished for more specificity in the generous gestures which lost impact due to a lack of variety. For unknown reasons, Ms. Said kept her head tilted toward her wonderful guitar partner and frequently tilted her body in his direction. We felt like we had a critical parent voice in our head saying "Stand up straight!". This was a minor distraction and did not spoil the impact of her affection for the material and her generosity in sharing it.

The initial set was the one most familiar to us--Manuel de Falla's Siete canciones populares españolas, a cycle which we have mainly heard with piano accompaniment. Hearing it with guitar was a refreshing novelty. The varying moods came across well, although we missed the irony we like to hear in "El paño moruna" and "Seguidilla murciana", both of which are symbolic references to women of low morality. However "Asturiana" captured quiet sorrow in four brief lines. We enjoyed the earnest feelings of "Jota" and the rage of "Polo". The guitar introduction to "Nana", performed by Rafael Aguirre, set the stage for this moving lullaby.

We know the music of Joaquin Rodrigo primarily through his orchestral works-- Concierto de Aranjuez and Fantasia para un gentilhombre. This was our first exposure to one of his songs "Adela" from Tres canciones españolas which was marked by simplicity and opened with some lovely arpeggi in the guitar.

The most modern sounding set on the program was composed by Lorenzo Palomo and comprised a "Madrigal and Five Sephardic Songs" which bore the influence of the pre-expulsion Jewish presence in Spain. As we have noted before, Spanish composers, even those that studied in Europe, never succumbed to the anti-melodic influence of the 20th c. that so destroyed the art song tradition.

We enjoyed José Serrano's jaunty "La canción del olvido: Marinela" and Federico Garcia Lorca's similarly jaunty "Los cuatro muleros". In complete contrast was the emphatic "Sevillanas del siglo XVIII".

Perhaps our favorite canción was the romantic "Del cabello mas sutil" from Fernando Obradors' Canciones clasicas españolas. The song is short and sweet and we wished the composer had written another verse or two!

The Egyptian songs on the program represented the Arabic contribution to the Iberian musical landscape. We didn't find the harsh Arabic language to be any more singable than we find English to be; however, the warmth and sincerity endowed by Ms. Said made them compelling. Najib Hankash's "Give me a flute and sing" offered the opportunity to appreciate the artist's fine fioritura. Sherif Mohie El Din's "Will the River Flow Forever" was marked by a lovely spinning out of sound that seemed to last forever.

Mr. Aguirre had a chance to shine in his solo Gran Jota by Francisco Tárrega. This is a most virtuosic work, filled with pyrotechnics--dazzling finger work and astonishing percussive effects. We wished we had been sitting closer since we were trying to figure out how he managed to play melody, harmony, and percussion all at once.

We enjoyed the evening a great deal and we left wanting to hear Mr. Aguirre perform in Rodrigo's Concierto de Aranjuez someday. In the same fashion, we would love to experience Ms. Said on the opera stage. Her credits are mainly in the area of art song but we had some mental fun casting her in a number of operas featuring charming coquettish heroines! 

© meche kroop

PIANO 10 VOICE 2

Sally Matthews and Simon Lepper

Nothing pleases us more than discovering a singer we haven't heard before and we approached last night's recital at Weill Recital Hall with high anticipation, especially because the program of Sibelius, Grieg, Strauss, and Wagner comprised songs we know and love. Sadly, the evening left us feeling empty and disappointed, reluctant to sit down at the computer to write about it.

Appreciation of the human voice is a very individual thing and what sounds pleasing to one pair of ears may be unpleasant to another. Although the customary standing ovation with hoots and hollers at the conclusion was absent, there was generous applause and our post-recital chat with friends and colleagues revealed a modest degree of appreciation of certain aspects of the recital, but no one seemed thrilled.

We will get to the voice anon but let us start by saying that a seasoned performer who presents an entire recital buried in the score is cheating the audience of the intimate experience for which one attends a lieder recital in a small house.  Dear Reader, bear in mind that soprano Sally Matthews has apparently presented the very same program at Wigmore Hall in London! This was not a recital of new music with weird entrances and strange sounds. No, it was a recital of standard repertory that had been performed before.

Nor did the loathed music stand get set aside for the two encores. If we have one positive thing to say about the singer, it is that the lower tessitura of Britten's "The Salley Gardens" was more agreeable than the hard edges displayed during the rest of the program, an unpleasant sound that was at its worst at the top of the vocal register and was made even worse when the volume was increased.

Admittedly, our friend in the balcony found it not as painful to the ear drums as we did, as did the friend who sat next to us. The lower tessitura of Wagner's Wesendonck Lieder was kinder to the ear. Pianissimo passages were less painful.

We have nothing to say about Ms. Matthews' Swedish. Her German was adequate and there were no omissions of the final "ch"; however at times, entire syllables were glossed over and we missed the crispness heard from German singers. Upward leaps in Wagner's "Schmerzen" were dynamically abrupt.

There was a sameness to the sound of every single song which added to the tedium. We don't believe that the singer lacked in connection to the material but she did lack in connection with the audience. She was either looking at the score or at some nonexistent family circle but never at the audience. We did not feel drawn into her world or the world of the song.

The best singing of the night came from the piano of Simon Lepper. When we feel alienated from a singer, we generally use the situation  as an opportunity to focus on the piano and Mr. Lepper did not disappoint. The variety we missed in the voice was amply revealed in the piano.

Fortunately, there were three instrumental selections from Edvard Grieg's Lyric Pieces: "Melodie" from  Op.38, No.3, "Melancholie" from Op.48, No.4, and "Arietta" from Op.12, No.1. All were lovely and evocative of different moods. We liked his soft hands as they caressed the keys.

We enjoyed the jaunty accompaniment to Grieg's "Lauf der Welt" which told the tale far better than the singer did.  In Strauss' Drei Lieder der Ophelia, Op.67, he captured the madness. Actually, the singer also captured the madness but was uncomfortably shrill.

Mr. Lepper's performance of Strauss' "Morgen!" was exquisite and we found ourselves wishing that he could continue without the voice. Similarly, for Wagner's "Im Treibhaus".

As impressed as we were with Mr. Lepper's piano, we wondered whether, in his role of coach, he had ever suggested to Ms. Matthews that she learn her program sufficiently to share it with the audience. It seems somewhat self-absorbed when a singer appears to be singing for herself and excludes the audience!

© meche kroop

MULTI-LINGUAL ARTISTRY

Allen Perriello and Joélle Harvey

At a time when vocal recitals are becoming increasingly scarce, we lovers of classical voice can count on Carnegie Hall, which presents vocal recitals in all three halls--Stern, Zankel, and Weill.  We are particularly fond of the series at the intimate Weill Recital Hall which facilitates the intimate connection so necessary for the appreciation of art songs.

Last night's recital was satisfying on many levels, introducing us to a soprano of distinction whom we had never heard before, although she is well known as a recitalist and in symphonic works with vocal movements.  Joélle Harvey is particularly recognized for her Mahler and we wish there had been some Mahler on last night's program.

What struck as about Ms. Harvey was her bright tone, the clarity of her diction, and her facility with languages. Indeed, we heard her in English, German, French, Italian, and what we took to be Norwegian. Actually, we are not familiar with the Scandinavian languages but since Edvard Grieg was Norwegian, it's a good guess. The program spanned the Baroque period right through to the contemporary one for which we lack a title.  Perhaps "Post Modern" will suffice.

The program opened with a set of songs by Henry Purcell, England's most famous composer for the voice. We don't believe anyone has matched his ability to choose good text in English (can't go wrong with Shakespeare!) and to amplify the text with singable melodies and pleasing harmonies.

However, our favorite of this set was "Sweeter than roses", the text of which is declared to be "anonymous". The text gave Ms. Harvey the opportunity for maximum variety of tempi, dynamics and word coloration. We loved the passion and the ardent melismatic passage.

A set by Mozart reminded us that Mozart could bring out the beauty of texts from any language. "Ridente la calma" is always a pleasure and Ms. Harvey brought out the beauty of the Italian vowels. "Oiseux, si tous les ans" was charmant and sung in fine French. The long legato lines persisted through the German lied "Die Zufriedenheit" which bears a lovely message of contentment. "Die kleine Spinnerin" was new to us and we would have enjoyed it more if Ms. Harvey had differentiated between the voice of the spinning girl and that of the young fellow importuning her.

The singer's German was even crisper in four songs by Clara Schumann which were our favorite part of the recital. We are always overjoyed to hear her songs in recital and particularly "Liebst du um Schönheit" which is refreshingly different from the Mahler setting, perhaps more tender and less exuberant. "Die stille Lotosblume" had some lovely dynamic variety and a wrenching change to the minor mode.

A set by Edvard Grieg focused largely on nature and Spring. Although we liked the sound of Norwegian our favorite song was "Osterlied" sung in German. "En fugelevise" limned a strange and beautiful scene between two lovers who would never see each other again for unexplained reasons. With a text by Ibsen, one could just imagine!

The song cycle Vanitas by contemporary composer Michael Ippolito did not enchant us vocally for the usual reasons. None of the poetry seemed to want to be set.  "Quivered out of decimals", "degreeless noon", and "decades of arrogance" are just three examples of phrases that seemed unmusical to us. The one song that seemed interesting was "A Feather" with Gertrude Stein's nonsensical text leading to some clever vocal effects.

Although Mr. Ippolito is a long-term friend of Ms. Harvey's, we did not find his vocal line interesting or even kind to her voice.  As usual our attention wandered to the piano and we realized that Mr. Ippolito writes very well for the instrument. Collaborative pianist Allen Perriello, so accurate, straightforward, and supportive during the entire recital, was given a chance to play Mr. Ippolito's highly original composition with style.

We were glad that the encore was tuneful. It was "Remember Me" by Kristen Anderson-Lopez and Robert Lopez from the Disney film Coco. Apparently, popular song writers known how to craft a tune! Ms. Harvey sang it with personal involvement.  It was lovely!

(c) meche kroop

COUNTERTENOR JAKUB JÓZEF ORLIŃSKY- IL MIO DILETTO

Aisslinn Nosky, Alexander Woods, Jakub Józef Orliński, Kyle Miller, Avi Stein, Ezra Seltzer, and Wen Yang

The thrill for us last night at Weill Recital Hall of Carnegie Hall lay not so much with the material but rather with the performance. Jakub Józef Orliński is one of those rare singers who could entrance us by singing the phonebook. We still recall his brilliant performance as the lead in Jonathan Dove's Flight which resulted in our opening up to contemporary opera.

Last night's program of sacred music would never have been our choice.  And yet.  And yet we found ourselves in rapt attention for two hours, our attention never wandering from the glorious sound of the countertenor's instrument, a sound we will focus on trying to describe for those of you who were not fortunate enough to secure a ticket for the oversold concert.

The tone is crystal clear and even throughout the register without any disconcerting breaks. It is brilliant and focused at the top, opening like a flower. At the lower register, it is substantial and more resonant than one would expect of this fach.

His technique is flawless. We paid quite a bit of attention to his embouchure which resulted in what amounted to a lesson. The capacious opening for the "ah" sound,  the pursing of the lips for the "oo" sound, the compactness for producing the "ee" sound without spreading, everything was perfect.

The breath control for producing the extravagant embellishments of the vocal line led to a marked precision in the volley of notes--something like a string of matched pearls.

The variety of colors produced a kind of chiaroscuro word painting that, combined with exquisite dynamic variation avoided the kind of tedium that we've often experienced with this type of music. Each work became a mini-drama, each one focused on a different aspect of the crucifixion of Jesus.

All the works on the program were composed around the turn of the 18th c. and the first half of it and suggested the high degree of innovation occurring in the Baroque period.

The opening piece was Antonio Vivaldi's Stabat Mater in F Minor. sung of course in Latin. Latin seems to have the same gorgeous vowels as Italian, the taste of which Mr. Orliński seemed to relish. What was different were a few endings "am","em", "et", "is",  and "um". Not a consonant was cheated. The legato produced a stream of sound that seemed to flow without end. The melismatic passages seemed to take flight. The dark tone of the work yielded to an exuberant "Amen" at the end

Nicola Fago's "Tam non splendet" was a more cheerful piece with lavish coloratura, especially in the ritornello. The third section was filled with tenderness with an exuberant "Alleluja" at the conclusion. The singer's vocal fireworks were echoed by the first violin.

The entire program, except for one short piece which was given its world premiere--(Gaetano Maria Shiassi's "A che si serbano" from Maria Vergine al Calvario) can be heard on Mr. Orliński's newly released CD Anima Sacra, comprising rediscovered 18th c. sacred arias and recorded with the Baroque ensemble Il Pomo d'Oro. 

In Schiassi's "L'agnelletta timidetta" from the same work, Mr. Stein accompanied on the organ. Both of Schiassi's pieces were sung in Italian.

Last night's program was accompanied by members of New York Baroque Incorporated-- violinists Aisslinn Nosky and Aleander Woods, violist Kyle Miller, cellist Ezra Seltzer, violonist Wen Yang, and harpsichordist Avi Stein who also played the organ. One could not have asked for a better setting for this jewel of a singer. There were times when Ms. Nosky's line followed the singer's or wove in and out--times of unutterable beauty.

There were three instrumental interludes; the first was the Trio Sonata in D Major by Arcangelo Corelli performed by the two violins, the cello, and the harpsichord. The second and third were portions of Franceso Durante's Concerto for Strings in G Minor. We have no idea why the work was broken up in such fashion and would have preferred to have heard it intact.

Mr. Orliński's artistry is equalled by his charming stage presence. He is at that stage in his professional career in which his overwhelming success on the world's stages has not yet been taken for granted. His enthusiasm for his music is absolutely contagious and we felt the audience take him into their collective heart. The standing ovation was well deserved.

The capstone for this glorious evening was his second encore--"Vedro con mio diletto" from Vivaldi's Il Giustino. We have lost count of the number of times we have listened to his performance online; to hear him perform it in person was astonishing. There is a simplicity and a virility that made it more enjoyable than that of Philippe Jaroussky which we like also but which struck us as a bit excessive in its ornamentation of the ritornello and also lacking in the warmth given to it by Mr. Orliński. It is interesting that the video we saw of Mr. Jaroussky was made about 10 years ago, just when Mr. Orliński began his vocal studies!

Dear reader, please listen to both videos on You Tube and let us know what you think!

(c) meche kroop

FESTIVAL OR FEAST

John Irvin, Raul Melo, WooYoung Yoon, Tianchi Zhang, Omar Najmi, Victoria Ulanovskaya, Alexandra Naumenko, Olga Lisovskaya, and David Gvinianidze

We are about to celebrate a Southern Italian custom on Christmas Eve--the Feast of Seven Fishes--at the home of some dear friends.  We are not sure whether the idea is to have seven different courses of fish or to eat seven different species of fish. In actuality, in prior years we enjoyed un'abbondanza beyond seven of everything.

Such was the case last night with un'abbondanza of artistry from five terrific tenors and two prodigious pianists, augmented by the talents of baritone David Gvinianidze, Founder of Talents of the World, and Director of same, soprano Olga Lisovskaya. The evening celebrated the 135th anniversary of Enrico Caruso.

Whilst enjoying entertainment, we are also learning, always learning, always forming new opinions.  Our take home from last night is that all singers should become aware of their own strengths and play to them. There is nothing wrong with pushing oneself in new directions--in a voice lesson or in a coaching.  But when one steps onstage, it is best to confine oneself to the type of material that suits one's unique gifts.

Two young tenors did just that last night.  WooYoung Joon has been reviewed by us many times; his strength lies in his stage presence.  He is what is called "a stage animal" and it is no wonder that he consistently wins Audience Favorite awards. (He also won the Grand Prix of this festival's competition). He clearly has a character in mind before he comes onstage and his connection with the character results in an instant and profound connection with the audience.

His Tonio from Donizetti's Fille du Regiment begins with "Ah, mes amis" and we instantly felt he was addressing us in the audience as his friends. This ability to communicate supersedes technique! Of course, we also love his healthy young instrument with its ringing tone.

Another impressive artist, new to us and one of the prize winners, is Tianchi Zhang who performed "Salut! Demeure chaste et pure" from Gounod's Faust. He too understood his character and delivered the aria in fine French with ardent intent and some beautifully floated high notes. We particularly admired his pianissimo, and the apparent ease of sound production.

Yet another prize winner, Omar Najmi, performed "Questa o quello" from Verdi's Rigoletto and and an aria unfamiliar to us--"La Speranza piú soave" from Rossini's Semiramide. In neither case did we feel that the aria suited his voice. There was something going on with the texture of his instrument that we couldn't quite put our finger on and occasional problems with intonation. In any case, his is not a voice suited to bel canto at this point in time; we found the fioritura muddy. We need to hear Mr. Najmi again, singing something different.

John Irvin sounded marvelous as Lensky in "Kuda, kuda vy udalilis" from Tchaikovsky's Eugene Onegin, beautifully limning the character of the anguished young poet searching his soul on the brink of an unnecessary death.  The pianissimo moments particularly drew us in. We liked him much more than in Romeo's aria "Ah! Lève-toi soleil" from Gounod's Roméo et Juliette. The pianissimo passages were fine but he tends to push during the fortissimo passages.  High does not need to be loud!

Even famous tenors have better affinities for different types of music. Metropolitan Opera star Raul Melo can sing Neapolitan songs with all the requisite garlic and he did just that last night; "Core 'ngrato" was sung with affecting heartbreak. The same intensity worked magnificently in "Vesti la giubba" from Leoncavallo's Pagliacci in which he successfully convinced us of Canio's anguish. 

Mr. Melo's strong middle register lent gravity to "Ma se m'èforza perderti...Si, riverderti, Amelia" from Verdi's Un ballo in maschera; the aria fit his voice perfectly.  Not so "Una furtiva lagrima" from Donizetti's L'elisir d'amore. Mr. Melo is not suited to Nemorino, not vocally and not dramatically.

Although the program was dedicated to Enrico Caruso, there seemed to be a heavy emphasis on the memory of The Three Tenors concerts which were a huge success and brought many new audience members to opera.  For our taste, there was too much group singing and we are going to tell you why.

Friday night, all the sopranos were equally gifted and equivalently versatile. But last night, the tenors were differentially gifted and not equivalently versatile, so having several of them singing various verses of the same aria served to highlight the tenor whose voice and demeanor best suited the aria, at the expense of the others. A case in point was "La donna è mobile", shared by Mr. Yoon who was flexible in the fioritura, Mr. Zhang who sounded fine, and Mr. Najmi who fell off pitch.

In "Nessun dorma" from Puccini's Turandot, Mr. Melo sounded fine, Mr. Yoon just about made the challenges of the low notes, and Mr. Irvin only succeeded in the midrange.

Still, we were happy to hear so many Neapolitan favorites at the end of the program, although it was disconcerting to see Mr. Irvin alone "on the book".  The evening ended with everyone sharing Denza's "Funiculi, funiculà", an audience favorite.

The evening would not have been complete without Mr. Gvinianidze's splendid baritone filling out Vincenzo DiChiara's "La Spagnola".  What a treat!

Pianistic artistry was shared by the lovely Alexandra Naumenko and Olga Ulanovskaya, who treated us to a piano medley of Italian melodies.

Tomorrow's Christmas Ball will bring in many voices and many types of music; it will be held in Zankel Hall at 7:00 PM.  Do not miss!

(c) meche kroop

TALENTS OF THE WORLD FESTIVAL

The title of "Festival" may sometimes be overused, implying an experience that is out of the ordinary. Last night at Weill Recital Hall, what we experienced was truly extraordinary. In observance of what would have been the 95th birthday of the legendary soprano Maria Callas, we were introduced to several world-class sopranos, any one of which could be the next Callas. As icing on the cake, we got to hear the two top prize winners of the Talents of the World 2018 competition. Who could ask for anything more!

The evening of arias began with a riveting performance of Lucia's Act I aria from Donizetti's masterpiece Lucia di Lammermoor by the astonishingly versatile Ukrainian coloratura soprano Ruslana Koval. "Regnava il silencio" depicts the fragile heroine relating what amounts to a ghost story to her companion. The artistry exhibited by Ms. Koval was in allowing us to see Lucia's unbalanced nature, thus establishing the groundwork for her later decompensation.

We sat in our seat, eyes wide, seeing the ghost through her eyes. Ms. Koval must have had dance training because her use of bodily gesture perfectly mirrored the text, as did her vocal coloration. The fioritura was perfectly rendered as well. Need we mention that her instrument is a gorgeous one which reflects her beauty.  One does not have to be gorgeous to be a good singer but it certainly doesn't hurt.

We appreciated her versatility when she enacted the innocent Gilda singing "Caro nome" from Verdi's Rigoletto; her portrayal of the Queen of the Night from Mozart's Die Zauberflöte had an entirely different coloration--fiery, imperious, but well modulated dynamically; the fioritura evinced pinpoint accuracy.

Her Violetta embodied all of the ambivalence of the character weighing her frenetic party life against the possibility of romance in Act I of Verdi's La Traviata. For visual interest, there were several costume changes to underscore the effect. This is a soprano to watch!

Georgian soprano Tamar Iveri has a very different instrument with a completely different set of gifts. Her voice is a spinto one with a lot of weight that stood up well to the demands made on a Verdi soprano. Her Desdemona was warm and loving toward Otello in the romantic duet "Gia nella notte densa" with Armenian tenor Arsen Soghomonya struggling with a head and chest cold.

What a change she exhibited as she portrayed the terrified Amelia in "Ma dall'arido stelo divulsa" from Ballo in Maschera. Her vocalism and acting were so intense that we could feel her terror. "Udiste? Come Albeggi" from Il Trovatore required even more of her--maintaining a beautiful tone whilst expressing a series of emotions toward the Conte di Luna. Leonora is in a rage but also must beg for pity from this vengeful rejected lover, here performed by the mellow toned baritone David Gvinianidze, President and Founder of Talents of the World.

With great versatility she conveyed the gentle character of Adriana in "Io son l'humile ancella" from Cilea's Adriana Lecouvreur and also the pathos and desperation of Manon in "Sola, Perduta, Abbandonata" from Puccini's Manon Lescaut. This is another soprano to relish, one with both power and subtlety.  She too changed costumes a couple times and if we weren't writing about the music, we would be describing the gorgeous gowns!

Talents of the World's Director Olga Lisovskaya herself has a lovely voice and delighted us with some dazzling coloratura in Juliette's waltz "Ah, je veux vivre" from the opera by Gounod. This is a pleasing sound with lovely phrasing and some impressive expansion at the top of the register. She also served as hostess for the evening, introducing the singers.

We just wrote about Anna Cley's effective master class a few days ago and were delighted to have an opportunity to hear her perform. The fair and slender Ms. Cley looks nothing like the gypsy Carmen so her performance of the "Habanera" succeeded brilliantly on the basis of vocalism alone and evoked huge applause. This is a dusky voice with the texture of a true mezzo, not just the voice of someone with low notes. 

She was similarly outstanding in the duet "Belle nuit" from Offenbach's  Les Contes d'Hoffmann with Shaina Martinez taking the soprano part. Their voices harmonized beautifully. Ms. Martinez won the First Prize in the Talents of the World 2018 International Competition. We have written several times about Ms. Martinez since her student days at Manhattan School of Music.

She gave a highly persuasive delivery of "Tu che di gel sei cinta" from Puccini's Turandot; she certainly could have melted anyone's cold heart!  She has beautiful tone and phrasing. We enjoyed her duet with Second Prize Winner Sarah Joyce Cooper in "Sull'aria" from Mozart's Nozze di Figaro.

Ms. Cooper also had a solo--"Depuis le jour" from Charpentier's Louise which showed off her sweet tone and fine French.

The program closed with three unusual ensembles.  Ms. Koval, Ms. Lisovskaya and Ms. Martinez sang the charming chanson "Les filles de Cadix" by Leo Delibes, a song loved by Ms. Callas.

Lauretta's aria "Oh mio babbino caro" from Puccini's Gianni Schicchi was performed by Ms. Koval, Ms. Iveri, and Ms. Martinez.

"Quando m'en vo" from Puccini's La Bohème was given a funny turn when Ms. Koval, Ms. Iveri, and Ms. Lisovskaya took turns upstaging one another. It was a great way to close this exciting evening, one which seemed to just fly by.

Pianist for the evening was the incredibly talented Alexandra Naumenko whom we remember well from her days with the Lindemann Young Artist Development Program. How satisfying it is to witness the artistic success of people we admire.

There is more to come from Talents of the World. Tonight there will be a testosterone fueled evening of tenors. And Sunday night will be a grand celebration with opera, operetta, and Christmas music.  This certainly does qualify as a festival!

(c) meche kroop

LEAH CROCETTO CARNEGIE HALL DEBUT

Leah Crocetto

FROM CLASSICAL TO JAZZ...guest review by Ellen Godfrey

On Thursday, lyric spinto soprano Leah Crocetto made her Carnegie Hall Debut with a carefully chosen selection of classical art songs and cross-over jazz and blues songs.  She performed in the intimate Weill Concert Hall, a perfect setting for her prodigious voice and her innate ability to communicate each song personally. It was obvious that all of this music is very close to her heart. Her pianist for this concert is one of today’s finest accompanists and soloists, Mark Markham.  He is at home with classical music as well as jazz and other popular music. 

Ms. Crocetto is fast becoming one of the great singers of her generation. She has a big beautiful voice supported by a great technique. She never pushes her voice and is capable of scaling it down when intimacy is required. Her diction in all four languages (French, Italian, Russian, and English), is very clear. In addition to concerts, she has already made her mark performing operas in opera houses around the world.

Ms. Crocetto walked on stage in a beautiful long green dress, and immediately engaged with the audience.  The concert began with four songs composed by the Italian composer Ottorino Respighi. (1883-1945).  When she started to sing, her powerful voice soon filled the hall, washing over the audience with her glorious sound.  She is very much at home singing in Italian. "Nebbie" is one of Respighi’s most popular songs, and she sang it with great intensity. The most interesting song was "Mattinata". Pianist Mark Markham quietly introduced it on the piano with the sound of tolling church bells, setting the mood for the whole song.  As Ms. Crocetto sang quietly, along with the bells, her singing became more joyous as she praised the Virgin Mary.

The second group of four songs was composed by 20th century composer Francis Poulenc. Poulenc engaged Louise de Vilmorin, to write the words for the song called “Violin.” She was familiar with Hungarian nightclubs and Ms. Crocetto ,along with Mr. Markham, performed the song in cabaret style to go with the words. "Les chemins de L’amour" is a waltz that  evokes the long gone happiness of love. Ms. Crocetto sang the waltz tune with good phrasing and a soft gentle French style. 

The third group of songs were by the Russian composer, Sergei Rachmaninoff, who lived around the same time as Respighi. Most of his songs were in the Russian romantic style.“How fair this spot” is a song about peace and tranquility sung in a quiet, dreamy way by Ms. Crocetto, ending in a gorgeous high note. “What happiness” is a fast paced song full of high notes stunningly sung by Ms. Crocetto, conveying the happy state of love.

Following these songs, there was a world premiere of a piece composed by the counter-tenor and composer Gregory Peebles. The title of the work, “Eternal Recurrence,” comes from a  philosophical theory that the universe and all existence and energy has been recurring and will continue to recur an infinite number of times across infinite time or space. The piece is in 10 sections.  The music is very melodic and starts with a piano introduction expressing the first musical theme. There are also some sung recitatives. Mr. Peebles states that travel is at the heart of “Eternal Recurrence.” Ms. Crocetto used her powerful voice and dramatic instincts to introduce this unusual and interesting piece to the audience.

The concert closed with selections from the Great American Songbook with songs composed for musical theatre by the Gershwins, Harold Arlen, Richard Rodgers, and  Sammy Fain.  Ms. Crocetto put her own personal stamp on the songs and it was a revelation for those of us who never heard her in this repertoire. She was spellbinding, singing these songs with a softer, less operatic voice, conveying the sentiments in a very personal way. She really loves these songs and gives you the feeling that she is singing directly to you. Her voice carried throughout the theatre even though she had softened it. She also has the freedom of a jazz singer…taking some liberties with the timing of the music and singing them in her own way.

She sang “The Man I love” in a very dreamy way; “I’ll be seeing you” was very quiet, going from a low register to a high one, singing with a lot of feeling, and “The Man who got away” was very moving.

At the end of the program the whole audience stood up and gave Ms. Crocetto and Mark Markham standing ovations. There were two wonderful encores: Jerome Kern’s “Cant Help Lovin Dat Man of Mine” and Jimmy McHugh’s “I’m in the mood for love” and then more loud applause.

She has certainly now established herself as a wonderful concert singer of both classical opera and crossover jazz and the blues. We can all look forward to hearing her in her next concert, which I hope will be soon.

(c) meche kroop

JOY AND MORE JOY IN SINGING

Haodong Wu and Marisa Karchin at Weill Recital Hall

Surely musicians do not have to be beautiful to look at but there's no denying the visual pleasure of seeing two such lovely artists onstage at Weill Recital Hall last night at the Joy in Singing 2018 International Art Song Award Debut Recital.

An interesting factoid is that we reviewed each of them separately in connection with Cantanti Project. Haodong Wu was the pianist for a recital of love songs and Ms. Karchin sang in Händel's Orlando.  How fine it was to see both of them given an entire recital to show their versatility. Their introduction of each set was delightfully presented.

An unusual feature of Ms. Karchin's artistry is that we could understand every word she sang, in spite of the bright coloratura nature of her instrument. There is an appealing aspect to her vibrato as well. She chose her own program and wisely included plenty of material with melismatic passages, at which she excels.

There is nothing reticent about Ms. Wu's collaborative pianism. She didn't drown out the singer but she certainly didn't fade into the background.  The result was a true matching of artistry.

The program opened with two songs by Purcell, one of the few composers who set English in a way that delights our ear. Both "Sweeter than Roses" and "If Music be the Food of Love" offer opportunities for word coloration and the artists availed themselves of the opportunity, whether the word was "sweet" or "warm", "freeze" or "fire".

Six songs from Lili Boulanger's Clairières dans le ciel were performed.  If the French pronunciation left something to be desired (Yes, those nasalities and diphthongs are difficult to master!) at least the Gallic style was mastered, leaving us to hope that Ms. Karchin will get some additional coaching in French. Her cool tone is just perfect for French.  We heard her in the duet from Delibes' Lakme three years ago and thought the same.

This is our week for Turina's music, which we just heard in a concert at Manhattan School of Music. We can never get enough of Spanish song and were happy that the program included Tres poemas from Opus 81. We particularly admired Ms. Wu's playing in "Tu pupila es azul". Again, we loved the melismatic singing. We heard some insecurity in the Castilian and even a touch of Argentinian accent at times--something that should be very easy to correct.

We have no such quibbles with the Russian since that is a language we have not learned. It was a brave move to put four songs by Nikolai Obukhov on the program. This so-called "modernist mystic" wrote dodecaphonic music, including all sorts of weird vocal utterances, that the audience listened to respectfully. 

The final set by Strauss came as a relief and we noted that Obukhov's music will be performed long after Strauss' music has died--but not a moment before! (Insert laugh). In spite of listening with "open ears", we were gritting our teeth halfway through. We will say, however, that the artists gave the songs a committed and expressive performance.

The Strauss left us happy of heart. That man knew how to write for the voice!  His Brentano Lieder appeared after a decade long hiatus from song writing and must have been greeted with as much glee then as we felt last night. The humanity and accessibility of the text is matched by the stunning vocal writing, filled with descending chromatic passages and wide skips.

Here, Ms.Karchin was in her element, bringing every passage to vivid life with her storytelling.  Her artistic choice was to soften the "ch" sound, avoiding its guttural nature; this was fine since it was consistent. We get annoyed when a singer avoids the sound altogether or pronounces it inconsistently. A little brushing up of the umlaut sounds would make her German perfect.

Ms. Karchin's father is a composer and was in the audience to hear her sing his setting of two poems by Seamus Heaney, whose text, which neither rhymed nor scanned, led to a vocal line than was not memorable. We found our ears leaning toward the piano writing which was interesting.

Let us close by pointing out that Joy in Singing, in their sixtieth year, is under new leadership and is expanding its mission. They will now be known as Joy in Singing, The Art Song Institute. Visit www.joyinsinging.org to learn about their outreach in public schools (YAY!), their series Art Song on the Move, their Song Salons in private homes, their master classes and workshops.

(c) meche kroop

UNCOMPROMISING ARTISTRY

Julia Bullock and John Arida onstage at Weill Recital Hall

There is an air of devoutness about soprano Julia Bullock!  There is such devotion to her art and to whatever she chooses to put on her program that she inspires devotion in her audience. Weill Recital Hall at Carnegie Hall was not nearly large enough to hold the legions of her fans; but her artistry is so intimate that the hall is a perfect fit! Perhaps she should have been given a second night to accommodate everyone that clamored to hear her. We feel a sense of privilege to have been there.

We have been writing about Ms. Bullock since we began this blog. However, she first came to our attention when Lachlan Glen presented his year-long Schubertiade, employing the services of his fellow students at Juilliard. Sadly, the website for which we wrote is no longer extant and we cannot access those reviews.

But for the past 6 years, Ms. Bullock has had our admiration in a number of operatic roles (Cendrillon and Vixen Sharp-Ears are best remembered), at New York Festival of Song, in solo recitals, in Juilliard liederabende, at a Juilliard Vocal Arts Honor Recital, at a Young Concert Artists recital, and a Carnegie Hall Neighborhood Concert. Did we miss anything? Oh yes, a master class with Eric Owens.

Let us take a closer look at the reasons for our consistent admiration. Ms. Bullock is blessed with a gorgeous instrument which has darkened and expanded with time. We heard some impressive tone at the lower end of the register in the last set of songs on the program.

But there is so much more to her artistry. She does occasionally repeat a song from one recital to the next but mostly she tackles new material. She translates the songs herself and there is never any doubt that she is immersed in the text.  We have no doubt that she is visualizing what is in the text and we see it through her eyes.

Her programming is highly personal and a bit idiosyncratic. We go where she leads and take pleasure in the novelty. She began the program with four lovely Schubert songs which reminded us of our first exposure to her artistry in a church on the Upper East Side, at the Schubertiade we mentioned above.

Ms. Bullock clearly expresses her feminism and anti-racism. The opening song "Suleika I" was written not by Goethe, as she pointed out, but by his lover Marianne von Willemer. Accompanied by the superb collaborative pianist John Arida, we could feel the breeze created by rippling piano figures. The last verse was repeated twice, deeply felt, and differentially colored each time.

Friedrich Rückert's charming text for "Lachen und Weinen" provided opportunities for major-minor shifts. The confused adolescent mood was sustained through the piano postlude. Goethe's text for "Wandrers Nachtlied II" held us in a peaceful place.

The strophic "Seligkeit" was written by Ludwig Christoph Heinrich Hölty, a man of the cloth who abdicated for a life of poetry. In this song we hear a tribute to earthly bliss.

Dear readers, were you waiting for me to complain about Samuel Barber's Hermit Songs?  You will be surprised to learn that we actually enjoyed them. Props to any singer who can show us what there is to appreciate about a  previously disparaged work of art. It's something like sitting down with a person you thought little of and learning that they have a lot to offer!

So what helped us turn that particular corner?  We suppose it was that Ms. Bullock's aforementioned devoutness gave us insight into people who choose a life of devoutness and monasticism. Her intense involvement with the songs was matched with superlative English diction such that we understood every word. In "Saint Ita's Vision" we saw in our mind's eye the woman clasping the baby Jesus to her breast!

The good cheer of "The Heavenly Banquet" gave way to the grief of "The Crucifixion".  But our favorite was and always will be, "The Monk and His Cat" which struck us as a great recipe for a good relationship--alone together, each with his own work, neither hindering the other, without tedium or envy.

Focusing on feminism, Ms. Bullock chose selections from a late work by Gabriel Fauré--La chanson d'Ève. She spent some time explaining the work and its theme of unfolding as the biblical Eve tries to find her place in the world.

There was quietude and simplicity in the piano at first but we heard some lovely rippling figures in "Veilles-tu, ma senteur de soleil".

The last set comprised bluesy and jazzy numbers highlighting the Afro-American experience, and especially that of women. Ms. Bullock took pains to tell us when the female member of the composing team had been neglected, like Pat Castleton, the wife of the credited composer Spencer Williams, for the song "Driftin' Tide". It was here that we began to appreciate the artist's strength at the lower end of the register.

Maceo Pinkard's "You Can't Tell the Difference After Dark" was written for Alberta Hunter. Sometimes humor can be a good method of confronting prejudice.  We also heard "Downhearted Blues" made famous by Bessie Smith, and "Our Love is Different" by Billie Holliday.

Two Nina Simone songs made an appearance. "Revolution", in an arrangement by Ms. Bullock herself, was sung a capella and ended in a stunning vocalise. Using a prepared piano, Mr. Arida accompanied Ms. Bullock in the very upsetting "Four Women", utilizing a repetitive and insistent motif.

As encores, we heard Connie Converse's "One by One" and finally, to make sure the audience left in a cheerful mood, Josephine Baker's "La Conga Blioti" which was so well done that we speculated on Ms. Bullock doing a one-woman show about Ms. Baker.

What an incredible evening!

(c) meche kroop

A FLAWLESS LIEDER RECITAL AT WEILL RECITAL HALL

Ying Fang, super-star soprano (photo by Dario Acosta)

A perfect performance of the kind of music one prefers to hear can totally transform one's mood. The rainy day glum gave way to a sunshine-y kind of joy under the influence of Ying Fang's artistry. With the superlative collaborative pianist Ken Noda, we heard the kind of music that formed the basis for the art song recital.  Happily (for us), no new ground was tilled. We don't go to lieder recitals to be intellectually challenged by obscure texts.  We go to be delighted and emotionally moved. 

Ms. Fang has been the object of our adoration for at least six years. What great fortune for the opera world that Mr. Noda discovered her in Shanghai! Her advanced studies at Juilliard brought her to our attention.  Perhaps the first review was for her Zerlina. We also adored her Susanna. Several appearances in recitals just continued to impress us with her artistry.

It was a coup for Carnegie Hall to snag her for this eagerly awaited recital. Weill Recital Hall was a perfect venue for her intimate performing style. Although she has the physical beauty and fashion sense to come across as a diva, she does not. She commands the stage by virtue of confidence and professionality. She draws us into her world with a nod, a smile, or a well-timed glance.

In programming this recital, she took us to the very roots of lieder, with a few other selections to pepper the tasty stew. Her focused bell-like soprano delights the ear and her lightness of touch seemed perfect for Mozart. She knows exactly what she is singing about and brings out the subtext with subtle artistry. This may be the first time we appreciated the symbolism of a flower that blooms too early, or one that willingly sacrifices itself for love.

Mozart's melodic magic was everywhere evident and his abrupt shifts from major to minor were strongly delineated by Ms. Fang and the very present Mr. Noda. The German text was clearly enunciated and the word coloration conveyed every nuance, amplified by Ms. Fang's expressive face.

This made us think about the artifice of the lieder recital. The preparation is intense but the performance must seem spontaneous and natural. 

The sets alternated between Mozart and Schubert, who came along a generation or two later, but seemed to have composed with Mozart whispering in his ear and guiding his pen. If only one of them could return to earth and guide the pens of today's composers! That they both chose wonderful texts, texts that rhyme and scan, like those of Goethe and Müller, surely affected the flow of melody and phrasing. Ms. Fang and Mr. Noda seemed totally tuned into these aspects and gave each text apposite phrasing.

We loved the sweet and happy songs like Mozart's "Un moto di gioia" and "Ruhe sanft, mein holdes Leben",  an aria from his unfinished opera Zaide. We had similar pleasures from Schubert's passionate "Ganymed". But there were other emotions to hold dear, like the angry "Als Luise die Briefe" by Mozart, and Schubert's wistful "Im Frühling".  But our most profound feeling came from Mozart's "Abendempfindung" which brings tears to our eyes when it is well performed.  It was and it did!

Mr. Noda's artistry always impresses us.  Last night we loved the hymn-like prelude to Schubert's "Im Abendrot" and the rocking piano which gave "Nacht und Träume" the feel of a lullaby.  There was plenty going on in the piano part of "Viola" and we observed how deeply the two artists listened to one another and reflected upon each other. This lengthy lied comprises multiple moods and varied tempi.

For opera lovers, we had Susanna's final aria from Mozart's Nozze di Figaro, a role in which we have enjoyed Ms. Fang's performance. Without excess, she subtly let us know that Susanna was "performing" for her new husband. The wide upward skips were artistically negotiated.

The final work on the program was Mozart's concert aria "Misera, dove son"; the opening messa di voce grabbed our attention and the lavish embellishments reinforced the character's anguish.

Thankfully, we were gifted with two encores, loudly demanded by the capacity crowd--"In trutina" from Carl Orff's Carmina Burana (sung in Latin), and Rachmaninoff's "The Dream". We could say that the entire evening was like a dream come true!

(c) meche kroop