Sunday December 9, 2007 - Members of the Met's Lindemann Young Artists Program performed a programme of opera scenes this evening. In an unusual and not very successful departure, the audience was seated (in rather narrow and uncomfortable seats) on the Met stage with a small platform set up against a bare wall on which the singers performed. It was the first time I've ever been on the Met stage and had an opportunity to look out into the auditorium from a singer's perspective. Surprisingly, the house looks strangely small - almost intimate. The novelty of being onstage for tonight's performance was offset by the fact that the voices seemed to go directly up into the flies with the resulting effect that everyone sounded rather dry and shallow of tone. The piano accompaniments likewise seemed to dissipate in this setting. Too bad they didn't simply take advantage of the auditorium's fine acoustic and give the audience the comfort of cushy orchestra seats. I think all the singers and pianists would have been shown to better advantage.
The scenes chosen did not really work well in this context: semi-staged, with bits of costuming (hats, collars and - in Lisette's case - a robe) which left the singers looking somewhat self-conscious. Poor Sasha Cooke, playing Romeo in a scene from Bellini's CAPULETI, arrived for her duet with Lisette's Giulietta carrying a large suitcase. The stagings were not very interesting in any event and sometimes rather amateurish. I've seen better scene programmes at Juilliard.
Aside from the unflattering acoustic, some of the singers were inappropriately cast. Rather than showing off the strengths of the Young Artists Program, the evening seemed at times to expose its weaknesses. Of course there were some delights along the way: Ashley Emerson's pert Rosina and fine Zerlina; John Moore especially shone as Beaumarchais in a scene from GHOSTS OF VERSAILLES with Jennifer Black's attractive Countess; Ginger Jackson's quick switch from THE CONSEL'S indifferent Secretary to HOFFMANN'S Vision of Antonia's Mother. Courtney Mills' strong voice deserved something more than Magda Sorel's few lines; tenor Matthew Plenk has a very interesting timbre. THE CONSUL scene actually came off best, thanks largely to Ms. Jackson's biting portrayal and Donovan Singletary's moving performance as Mr. Kofner. Sasha Cooke's magically sustained final note of the ensemble was lovely, but premature applause covered the Secretary's final "Next!" The excellent pianists were Pei-Yao Wang, Laura Poe and Vlad Iftinca.
Bass-baritone Shenyang and soprano Lisette Oropesa carried the banner of vocal and interpretive commitment proudly. Shenyang's ample tone and his expressive face and gestures made an astonishing leap from BARBIERE's booming buffoisms to a very dark and sinister Dr. Miracle in HOFFMANN and then on to an expansively sung Leporello. He has so much potential and in fact is already a surprisingly mature interpretive artist. Lisette has the unique shimmering vocal quality, the technical facility, the limpid diction and the dynamic control to encompass the bel canto literature to perfection. But the ideal belcantiste also needs that inner flame of emotion to illuminate the music. Lisette has that as well.
At the after-party I was so happy to see one of my favorite young singers, Kate Lindsey, who just completed a fantastic premiere series of Cherubinos at the Met.
Comments