The Opera Tattler

Merola's 55th Season Participants

Sopranos
Elizabeth Baldwin, Sylvania, Ohio
Jennifer Cherest, La Plata, Maryland
Aviva Fortunata, Calgary, Alberta, Canada
Jacqueline Piccolino, Palatine, Illinois
Suzanne Rigden, Dartmouth, Nova Scotia, Canada
Rose Sawvel, Denver, Colorado
Melinda Wittington, Wilson, North Carolina

Mezzo-sopranos
Erin Johnson, Washington, New Jersey
Sarah Mesko, Hot Springs, Arkansas
Carolyn Sproule, Montreal, Quebec, Canada

Tenors
Joshua Baum, Kansas City, Missouri
Casey Candebat, New Orleans, Louisiana
AJ Glueckert, Portland, Oregon
Theo Lebow, Sierra Madre, California
Yi Li, Shandong, China
Andrew Stenson, Rochester, Minnesota
Chuanyue Wang, Hei Long Jiang, China

Baritone
Joseph Lattanzi, Mableton, Georgia

Bass-baritones
Hadleigh Adams, Palmerston North, New Zealand
Gordon Bintner, Regina, Saskatchewan, Canada
Seth Mease Carico, Signal Mountain, Tennessee
Matthew Scollin, Walled Lake, Michigan

Bass
Andrew Kroes, Onalaska, Wisconsin

Apprentice Coaches
Francesco Fraboni, Senigallia, Italy
Artem Grishaev, Moscow, Russia
Elena Lacheva, Plovdiv, Bulgaria
Kevin Miller, Bronx, New York
Sun Ha Yoon, Seoul, South Korea

Apprentice Stage Director
Jennifer Williams, McLean, Virginia

Official Site | Press Releases

Merola Behind the Scenes Event 2012

* Program *
Rachmaninoff's Prelude Op. 23 No. 5
Robert Mollicone, piano

Richard Rodgers' "My Funny Valentine"
David Hanlon, piano

The end of Act I Scene 2 from Dead Man Walking
Laura Krumm, mezzo-soprano and David Hanlon, piano

"Il core vi dono" from Così fan tutte
Laura Krumm, mezzo-soprano, Ao Li, baritone, and Robert Mollicone, piano

"Avant de quitter ces lieux" from Faust
Ao Li, baritone and Robert Mollicone, piano

David Hanlon's "Bang Kiss Kiss Bang"
Robert Mollicone and David Hanlon, piano

* Notes *
Mark Morash, the San Francisco Opera Center Director of Musical Studies, held an event on Thursday focusing on the collaborative pianists in the Merola Opera and Adler Fellowship programs. Current Adler Fellows David Hanlon and Robert Mollicone spoke about how they came to the collaborative arts and auditioned for Merola. Both pianists played solo pieces, Mollicone chose the more conventional Rachmaninoff, and Hanlon improvised a version of "My Funny Valentine." Hanlon coached Laura Krumm through the end of Act II, Scene 2 from Dead Man Walking with a projection of the music on a screen behind them so we could follow along. Ao Li joined Krumm for a duet from Così fan tutte. Li sang Valentin's aria "Avant de quitter ces lieux", as Mollicone played the piece transposed down a step to accommodate his voice. Both pianists played a piece for 4 hands composed by Hanlon as the finale.

* Tattling *
The event started slightly late, as traffic was rather heavy coming into San Francisco, due to President Obama being in town for a speech at the Nob Hill Masonic Center.

2012 Adler Fellows

The incoming 2012 Adler Fellows are Marina Boudart Harris, Laura Krumm, Renée Rapier, Joo Won Kang, and Robert Mollicone. They join current Adlers (pictured left, photograph by Scott Wall) Nadine Sierra, Brian Jadge, Ao Li, Ryan Kuster, and David Hanlon. Outgoing 2011 Adler Fellows are sopranos Leah Crocetto, Susannah Biller, Sara Gartland; mezzo-soprano Maya Lahyani; countertenor Ryan Belongie; tenor Daniel Montenegro; and apprentice coach Tamara Sanikidze.

Press Release | Official Site

Merola Reception for Exective Director and Presidents

On Thursday evening the Merola Opera Program held a reception honored Executive Director Jean Kellogg, outgoing President Patrick Wilken, and incoming President Donna Blacker. Wilken was given a proclamation from San Francisco's City Hall. Kellogg and Blacker took office at the beginning of the month.

Press Release | Official Site

Adler 2012 Speculation

* Notes *
The Adler Fellows for 2012 are likely to be announced next month, so it is time to speculate on which Merolini (pictured left in the 2011 Grand Finale, photograph by Stefan Cohen) will return to San Francisco. Tamara Sanikidze will have completed her two years as an Adler this Fall, so we will get a new collaborative pianist. As for singers, the outgoing Adlers are sopranos Leah Crocetto, Susannah Biller, and Sara Gartland; mezzo-soprano Maya Lahyani; countertenor Ryan Belongie; and tenor Brian Jagde.

This year there were many fine low voices. Bass-baritones Peixin Chen and Philippe Sly were perhaps the most impressive of the 20 singers. Chen does lack in diction and in English proficiency, but his low notes are incredible. All 6 baritones had lovely voices, but Suchan Kim and Johnathan Michie were exceptional. One should, however, note that only baritone called back during the General Director Auditions was Gordon Fang. As for tenors, though they could all sing pleasantly, they all had their various weak points, and none were really up to the bar of other recent Adler tenors.

The strongest soprano was probably Suzanne Rigden, she was the most consistent week over week. However, one suspects she is already in another apprentice program, as she was the only soprano not called back during the General Director Auditions. Marina Boudart Harris had the most memorable performance in the Finale. For the mezzo-sopranos, Renée Rapier has the warmest and darkest sound. Rapier is a Domingo-Thornton Young Artist, which leaves Deborah Nansteel and Laura Krumm. Both have pretty voices, with much brightness. Nansteel's voice is more dramatic, but Krumm has the advantage of being fit.

* Tattler Guesses *
Robert Mollicone
Marina Boudart Harris
Laura Krumm
Deborah Nansteel
Peixin Chen
Philippe Sly

Merola Grand Finale 2011

* Notes *
Another Summer of the Merola Opera Program ended with this year's Grand Finale last night at the War Memorial Opera House. Ragnar Conde's staging for the performance was ornate, and the set used was one from Turandot, designed by David Hockney. The costumes were the usual tuxedos and evening gowns, the latter often in a palette of jewel tones ranging from sapphire to pink tourmaline. The dresses were all flattering, which was a nice change from some costume choices at other Merola performances this year. Johannes Debus conducted the San Francisco Opera Orchestra, occasionally the volume of the musicians in the pit overwhelmed the singers. There were also a few synchronization problems. It was nice to hear the overture to Rossini's Semiramide, and the brass was particularly lovely.

"Andiam, fidi, al consiglio...Invida sorte avara" from Ariodante was beautifully sung by Philippe Sly as Il Rè and Daniel Curran as Odoardo. Robert Mollicone's harpsichord playing was pretty here as well. The excerpt from Lucrezia Borgia sung by Renée Rapier (Orsini) and Heath Huberg (Gennaro) that followed was more awkward. Maybe part of the problem was the fussy stage direction, which involved nervous packing and fringed scarves. The first half of the performance did end on a high point, with Jonathan Michie singing "Batter my heart" from Dr. Atomic. Michie was completely convincing, his diction clear, and his voice has warmth and heft.

Ragnar Conde's humor worked well for the staging of "Ich gehe doch rate ich dir" from Entführung, Suzanne Rigden was spunky as Blonde and Peixin Chen a loveable buffoon as Osmin. Another highlight of the evening was "Das war sehr gut Mandryka" from Arabella, with Marina Boudart Harris (Arabella) and John Maynard (Mandryka). Boudart Harris sang imposingly, and without strain. Maynard gamely supported her with his pleasant sound. The last piece of the evening, "O che muso" from L'Italiana in Algeri, was very funny. Everyone eventually came out on stage, including the apprentice coaches, who all seemed to be singing in the chorus. The staging included much choreography, and many parasols were opened and closed. At times it seemed like chaos, but considering the text, it was not inappropriate. Philippe Sly was hilarious as Mustafà, as was Cooper Nolan as Lindoro. Suzanne Rigden managed to be a mousy Elvira, never upstaging Renée Rapier's sassy Isabella. Rapier's full, round sound was marvelous, her timbre is even throughout the ranges of her voice.

* Tattling *
Some light talking was heard when no one was singing on stage. The person in Row O Seat 105 chose to unwrap something during most of "Bel raggio lusinghier" from Semiramide.

Merola Opera Program's Barber of Seville (Friday)

* Notes *
The Merola Opera Program's Il barbiere di Siviglia (Act II, Scene 5 with Renée Rapier, Daniel Curran, Peixin Chen, Mark Diamond, and John Maynard pictured left; photograph by Kristen Loken) returned with a second cast on Friday night. The orchestra, conducted by Mark Morash, sounded more comfortable this time around. Again, this group of singers was vocally strong. As a whole, the movements were understated and the acting was not overblown. Marina Boudart Harris (Berta) sang "Il vecchiotto cerca moglie" mournfully. Peixin Chen impressed as Don Basilio, his voice is full and almost bottomless. His "La Calunnia" was robust. John Maynard's Dr. Bartolo was amusingly imprudent and conniving. Maynard sang smoothly and with ease.

Mark Diamond made for a gallant Figaro, and sang with a certain lightness, yet had good volume. Daniel Curran had trouble at the end of Almaviva's first aria, but recovered nicely. Curran's voice has a pingy warmth and much power. Our mezzo-soprano Rosina, Renée Rapier, bubbled and sparkled, but also has a pretty darkness in her low notes.

* Tattling *
There some whispering during the performance, but no obvious electronic noise. Someone's crutch fell during Act I, house right on the orchestra level, near the front.

Merola Opera Program's Barber of Seville (Thursday)

* Notes *
The Merola Opera Program's Il barbiere di Siviglia (Act II, Scene 11 with Jonathan Michie, Suzanne Rigden, and Heath Huberg pictured left; photograph by Kristen Loken) opened last night at Herbst Theatre in San Francisco. Mark Morash held the orchestra together without rushing terribly. The cast was robust, with many pretty voices and great physicality. The chorus was incredibly loud, despite the small number of singers. Deborah Nansteel sang Berta's one aria, "Il vecchiotto cerca moglie," very beautifully. Adam Lau was quite funny as Don Basilio, his low notes projected well, without being gravelly. Philippe Sly convincingly transformed himself into the incredibly silly, old man that is Dr. Bartolo. His voice is lovely, and his "A un dottor dell mia sorte" was memorable.

Jonathan Michie had excellent comic timing as Figaro, and sang with bright warmth. Heath Huberg (Almaviva) was dashing, though at times slightly strained, but pleasantly light. Suzanne Rigden (Rosina) has a dizzying ability to sing high notes, her coloratura technique is impressive.

Eric Flatmo's set involved a great many of tinsel garlands and furniture placed on end. This made for simple scene changes. The lighting, designed by Jax Messenger, was at times harsh against the already very shiny surfaces. Roy Rallo's direction was consistent, his ideas were carried all the way through the production and were humorous. I enjoyed his deliberate use of anachronism. The costumes, from Kristi Johnson, appeared period, except for Rosina's outfit, which consisted of a long bubble skirt, a high-waisted robe with many fastenings, and boots.

* Tattling *
The man behind me in K 4 spoke at full volume for much of Act I, during Basilio's only aria and Bartolo's first one. There was especially confusion about identifying each character at the beginning. There was some electronic noise that seemed to be associated with the production, perhaps associated with cuing.

Peter Kazaras Interview

Peter Kazaras (pictured left) directed the Merola Opera Program's Schwabacher Summer Concert this year. Kazaras is currently the Director of Opera at UCLA and Artistic Director of the Seattle Opera Young Artists Program. He was kind enough to speak with The Opera Tattler on July 14, 2011.

In addition to being an opera director, you are also a tenor. When and how did you start singing?
My father was a dramatic tenor, until he had to give it up because of nearly fatal ulcers. My mother was a musicologist. So I knew I should not pursue a life as a professional singer, but the craziness won out! I went to Harvard and studied government, then I went to law school. But I was in shows all the time, and in plays. I started singing lessons at 19. I was an attorney for two years, but i started my professional career as a tenor when I was 27. I waited until I was ready, but I didn't do it the normal way. I considered myself a principal character tenor. Stephen Wadsworth was my friend from college, and I was in his Poppea at Skylight Opera Theatre as Nero. I created the role of François in A Quiet Place, so I got to work with Bernstein, which was a kick.

How did you go from being a tenor to being an opera director?
I was always watching, I would go to rehearsals and just watch. It was a natural thing for me, I was always interested in directing. I directed Norma in Seattle, and then Le Nozze di Figaro, Tristan und Isolde, and Barbiere on the main stage. At UCLA I've done Falstaff, Le Nozze di Fiagro, Suor Angelica, Gianni Schicchi, Carousel (without amplification, not even for the dialogue), Three Penny Opera, and Dialogues of the Carmelites.

What does being the Artistic Director of Seatle Opera's YAP entail?
I started off at Seattle Opera as a singer, in 1985, and most recently I sang Loge in the 2005 Ring. I am actually making my return to the stage fairly soon. I became involved in the Young Artist's Program through Perry Lorenzo in the Department of Education at Seattle Opera. I do coachings and hear auditions. I have also directed the young artists in Le Nozze di Figaro, Turn of the Screw, Falstaff, a double bill of Enchanted Child and Gianni Schicchi, A Midsummer Night's Dream, Ariadne auf Naxos, and Don Giovanni. The program runs from October through November, and January through April, so I fly back and forth from Los Angeles to Seattle quite a lot!

What do you do for Merola? Tell me about directing a concert rather than a whole opera.
I help the Merolini gain the skills they need, and we work on knowing what every word means. We have to figure out what works physically for them, and there is a lot of play involved.

What are the challenges of being an opera director?
My job is to create a page and then get everyone on it! What is on this page is dictated by the score, especially the music in the score. The brunt of the work is actually shouldered by the music and the singers. One of the challenges is that there should be no difference between acting and singing, and one should be able to hear what is going on through the voice as aided by the body.

When do you get your best ideas?
Usually either in the shower or when walking my poodle Tommy.

Merola Opera Program's 1st Executive Director

Today it was announced that Jean Kellogg will be the Merola Opera Program's first executive director, effective October 1, 2011.

Press Release | Official Site

Schwabacher Summer Concert 2011

* Notes * 
Last night's Schwabacher Summer Concert included much strong singing. Scott Quinn sounded sweet as Don Carlo, while Guodong Feng (Rodrigo) blended in a bit more with the orchestra. Deborah Nansteel's Eboli was incredible, her voice is lovely. Elizabeth Zharoff (Giuletta) and Laura Krumm (Romeo) made for an interesting contrast in their Act I excerpt from I Capuleti e i Montecchi, as it is Zharoff that has a darkness in her tone, and Krumm who sounds rather bright, with a controlled vibrato. Cooper Nolan (Edgardo) and Joo Won Kang (Enrico) both sang their Act III, part 1 snippet from Lucia di Lammermoor with a great deal of power.

The excerpt from Act II of Rigoletto was compelling, not least because of Joo Won Kang in the title role. He was able to convey the pathos and humanity of this character. Xi Wang (Gilda) has a pretty voice, she is fluttery at the top and steely in her lower range. After all this Italian opera, the bit of Act III from Eugene Onegin did seem out of place, but Suchan Kim (Eugene Onegin) and Marina Boudart Harris (Tatiana) sang robustly.

The orchestra must have not had much rehearsal time, as the focus here is, of course, on the young singers. The playing in I Capuleti e i Montecchi came off a little awkwardly, and the woodwinds seemed to have trouble in Rigoletto. Maestro Robert Wood conducted with enthusiasm and the overture from L'italiana in Algeri was lively.

The staging, directed by Peter Kazaras, was simple, consisting of no more than 6 black boxes arranged in different formations for each scene. The rearrangement of the boxes between each segment was occasionally distracting, but did define the space just enough to be dramatically effective.

* Tattling * 
There was some speaking from audience members when no one was singing. At least one person was using a flashlight to read his program during the performance, perhaps because there were no supertitles.

Master Class with Martin Katz 2011

* Program *
"Una furtiva lagrima" from L'elisir d'amore
Daniel Curran, tenor and Ana María Otamendi, piano

"Look, through the port" from Billy Budd
Mark Diamond, baritone and Clinton Smith, piano

"Nacqui all'affanno...Non più mesta" from Cenerentola
Laura Krumm, mezzo-soprano and Robert Mollicone, piano

"Rivolgete a lui lo squardo" from Così fan tutte
Suchan Kim, baritone and Timothy Cheung, piano

"Air du tambour major" from Le Caïd
Adam Lau, bass and Clinton Smith, piano

* Notes *
Martin Katz gave a master class for the Merola Opera Program on Thursday at Herbst Theatre. Katz is a collaborative pianist, so there was some focus on the accompanists. He had Ana María Otamendi take "Una furtiva lagrima" faster, slowed down Robert Mollicone in the Rossini, and asked Clinton Smith to not follow his singer's style. Again, the singing was all quite nice and pretty. Daniel Curran had some problems with intonation but has an expansive voice. Mark Diamond seemed an ideal Billy Budd, and his words came through clearly. Laura Krumm was told she was too polite and had to show off more. Suchan Kim has a rich, but perhaps unnuanced sound. Kim broke out some impressive dance moves, and even clicked his heels at one point. Katz had Adam Lau sing an Ambrose Thomas aria with more assertiveness and bluster, and with beautiful long lines.

* Tattling *
Katz gave a pre-class talk with Sheri Greenawald. We learned that as an accompanist, it is important to identify physically with the singers. When asked which piece he found most challenging to play, Katz responded with Schubert's "Der Erlkönig."

Master Class with Matthew Epstein 2011

* Program *
"Bella siccome un angelo" from Don Pasquale
"Mab, la reine des mensonges" from Roméo et Juliette
Jonathan Michie, baritone and Robert Mollicone, piano

"Va! Laisse couler mes larmes" from Werther
"Sein wir wieder gut" from Ariadne auf Naxos
Deborah Nansteel, mezzo-soprano and Timothy Cheung, piano

"Sibillar gli angui d 'Aletto" from Rinaldo
"Hai gia vinta la causa...Vedro mentr'io sospiro" from Le Nozze di Figaro
Philippe Sly, bass-baritone and Ana María Otamendi, piano

"No word from Tom" from The Rake's Progress
"Отчего это прежде не знала" from Iolanta
Elizabeth Zharoff, soprano and Clinton Smith, piano

* Notes *
Matthew Epstein gave a rather novel master class for the Merola Opera Program last night at Herbst Theatre. Epstein had the Merolini sit in the middle of the auditorium, and give comments on their colleagues. There was something slightly awkward about this format, as it is very difficult to give one's honest opinion in front of both the person being critiqued and an audience. Needless to say, there was a lot of hedging. Many comments started with "I love your voice, but" followed by a particular opinion. This event also was different from most master classes because the singers did not repeat their arias. Even still, it was certainly interesting to hear what the Merola participants had to say. All four voices we heard were pretty and pleasant, but Philippe Sly stood out, despite being ill. It was nice to hear the pianists on stage, rather than in the pit as with the General Director Auditions.

* Tattling *
There was rather a lot of talking in the audience, and at least two cellular phones rang.

Auditions for the General Director 2011

* Notes *
This year's Auditions for the General Director of San Francisco Opera were this evening, featuring the participants of the Merola Opera Program. The quality of singing was consistent and very nice. We heard quite a few arias in English and Russian. Mezzo-soprano Deborah Nansteel, bass Peixin Chen, soprano Elizabeth Zharoff, bass-baritone Philippe Sly, soprano Xi Wang, tenor Cooper Nolan, soprano Marina Boudart Harris, baritone Goudong Fang, and mezzo-soprano Laura Krumm were called back. David Gockley seemed most enthused about Chen and Sly. Chen sang "Si La Rigueur" from La Juive and "La Vendetta" from Le Nozze di Figaro. Sly sang "O du mein holder Abendstern" from Tannhäuser and "Sibillar gli angui d'Aletto" from Rinaldo.

Meet the Merolini 2011

The 25 new Merolini were interviewed by San Francisco Opera Center Director Sheri Greenawald, Merola Opera Board of Directors Chairman Jayne Davis, and President Patrick Wilken yesterday evening, in the Green Room of the War Memorial Veterans Building. This year three of the participants are Canadian, three are Iowan, and three are Chinese. We learned that tenor Daniel Curran played French horn, baritone John Maynard the drums, and apprentice coach Clinton Smith the violin. We were told that baritone Guodong Feng would like to be called "Gordon." The best story of the evening was from mezzo-soprano Renée Rapier, whose mother was praised by soprano Christine Brewer as having a better voice than Brewer herself.

Schwabacher Summer Concert
Guodong Feng: Rodrigo (Don Carlo)
Marina Harris: Tatiana (Eugene Onegin)
Joo Wong Kang: Frate (Don Carlo), Enrico (Lucia di Lammermoor), Rigeletto (Rigoletto), Gremin (Eugene Onegin)
Suchan Kim: Lorenzo (I Capuleti e i Montecchi), Onegin (Eugene Onegin)
Laura Krumm: Romeo (I Capuleti e i Montecchi), Giovanna (Rigoletto)
Deborah Nansteel: Princess Eboli (Don Carlo)) 
Cooper Nolan: Edgardo (Lucia di Lammermoor), Duke of Mantua (Rigoletto)
Scott Quinn: Don Carlo (Don Carlo)
Xi Wang: Gilda (Rigoletto)
Elizabeth Zharoff: Giulietta (I Capuleti e i Montecchi)

Il barbiere di Siviglia
Rosina: Renée Rapier, Suzanne Rigden
Bartolo: John Maynard, Philippe Sly
Almaviva: Daniel Curran, Heath Huberg
Figaro: Mark Diamond, Jonathan Mitchie
Basilio: Peixin Chen, Adam Lau

***

In the spirit of full-disclosure, I feel I should mention that I am the president of the Opera Standees Association, which sponsors Merolini each year. This summer we are one of the sponsors of John Maynard.