The vocal programs of the 2011-2012 AVA season rocketed off in fine style with the New Resident Artists Recital. This year, two performances – open for the first time to faithful non-subscribing regulars and the public at large – showcased six special talents. Eager to hear these new voices, as soon as I learned the names of the first year resident artists, I sought performances on YouTube. Up close (first row) and personal [surely, they were singing just for me (!)], of course, the experience was vastly different and totally overwhelming.
The recital consisted of an hour of song literature, impressively interpreted by The Six, and mightily accompanied by Laurent Philippe. Unintentionally, Denise Stuart provided a kind of warm up act: I heard her humming - in excellent voice, by the way - making me wonder what she sang for her new student recital.
Christopher Remmel, listed in the program as a baritone, but on the roster as a bass-baritone, displayed a wonderfully warm, smoothly produced, dark-hued voice - perfect for Golaud and Dappertutto - while his "Pirate King" hinted at the pizzazz of Belcore.
Bettina Schweiger, adorably replete with dirndl, cascading golden locks and temperament aplenty, treated us to a limpid lyric mezzo with an easy top (think Kozena, Graham, Kirchlager). If my ears tuned in correctly, Nicklausse, Cuniza and Melisande could be vocal gold in Bettina's throat.
Patrick Guetti, bass, whose recordings don't even begin to capture the richness, velvet, presence and power of his instrument that one enjoys in the house, amazed us with selections from "South Pacific", bringing to mind Pinza, Tozzi and Siepi of yore, AVA alum contemporaries Wager and Masters, and incomparable fellow resident bass Conner. (Coincidentally, this season is particularly prime time for AVA basses). Miracle, Oberto and Arkel would be excellent fits for Patrick's "serious" voice, while the humorous number that Patrick sang and acted to complement the Rogers pieces displayed a sense of fun suitable for Dulcamara.
Sydney Mancasola, lyric coloratura, che non manca nulla despite her last name, charmed and delighted us with fleet-voiced, tonally accurate Strauss and Arditi. First place on my guess list is obvious: the soaring top (which resonated in MY mask), cleanly articulated fioritura, and crystalline staccati inevitably indicate an inner Olympia begging for release. HOWEVER, Sydney's power and legato also make Antonia a strong possibility. My AVAdar is picking up Adina as well, a favorite role of such lyric/coloratura predecessors as AVA alum Swenson, Peters, Blegen and Hurley.
Two tenors blazed like wildfires in their Philly recital debuts:
I had seen stentorian William Davenport, in Washington, D.C. last winter during a Met Competition round and thought then that he merited a place in the New York finals. No matter - it will surely happen. William, with his parents Moira and Bill in attendance (and beaming with pride), earned Warden audience acclaim with tenor chestnuts, including a glorious "Because" to climax the evening. Hoffmann, Riccardo and Nemorino, though requiring vastly different colors, nonetheless, are all in William's voice.
Nelson Ebo, was a revelation by virtue of the beauty of his instrument and the sensitivity of his delivery. Singing one of my favorite pieces, "Parlami d'amore Mariù", the text of which was curiously absent from the program, Nelson brought tears to my eyes, such was his infinite feeling, seamless legato, and breathtaking piani. I heard the requisite passion and elegance, too, for a world-class Hoffmann, the delicacy and tenderness for a memorable Nemorino.
BRAVI TUTTI!
Chatting a bit with a few of the newbies after the show, I was impressed, as always, by the friendliness, approachability, courtesy, graciousness and incipient fan savviness of the artists in AVA's resident opera company. Although touted as "stars of the future", I hear "stars of the present"!
