Subject: |
Review of VeraMusica's Il Trovatore, which took place
in New York City,
March the 16th 2013
Published n the Opera - L Archives,
on March 19th.
Link: http://listserv.bccls.org/cgi-bin/wa?A2=ind1303C&L=OPERA-L&T=0&O=D&P=91800
Inspiring discoveries today! | ||
| From: | Geoffrey Riggs <[log in to unmask]> | ||
| Reply-To: | Geoffrey Riggs <[log in to unmask]> | ||
| Date: | Tue, 19 Mar 2013 16:02:29 -0400 | ||
| Content-Type: | text/plain | ||
| Parts/Attachments: |
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It was indelible. There, with minimal staging and piano accompaniment, were four principals put through their paces in an abridged Trovatore reading by ostensible students. Only they did not sound like students. They sounded as if they had taken Verdi's music deep into themselves and embodied their parts in ways I had found wanting in a Trovatore at the Met this past January. The heart and soul -- and voice! -- these young singers invested in the score put an otherwise accomplished but not inspiring lineup earlier heard at the Met in the shade. I found in this "student" reading of Trovatore much of what I had missed in an uncut performance with all the resources of the Met at the music's disposal. The space at Episcopal Church of the Good Shepherd (240 East 31st Street) is certainly reverberant and might not be too kind to Mozart students or Rossini ones. But these singers Saturday evening came off as authentic Verdians, and the exigencies of the space in fact allowed these potent voices to bloom with authority and true beauty. Even when not singing full voice, the heroic Manrico of Ubaldo Feliciano-Hernandez seemed to come from the walls and the floor around one, not just the performance space in front: a startling amplitude throughout his range that seems impossible to find today in this repertoire, and yet Feilciano-Hernandez has it. As if that were not enough, he managed the climaxes in the "Di quella pira" with true squillo and ease, observed handsome trills in the "Ah si, ben mio" and affected a poetic consciousness of word and tone in those crucial duets with Azucena. It is a delight to salute a Leonora with a genuine pianissimo and a long poised line in Sandra Mercado. All the poignant accents and anguish in the music were faithfully delivered without once compromising authentic Verdian style. Who would imagine that one so young could make this daunting music sound so natural and expressive? That is a tribute to her own dedication and the fine preparation given all the students in this "reading". The Di Luna of Gustavo Ahuali boasted the same easy mastery of Verdian style. Purportedly fighting a cold, Ahuali could perhaps be faulted for occasionally short phrasing, but he is a born musician, and his fine intonation in the upper register stayed sure throughout, with ringing and attractive tones in his "Il balen". Another "student" with the right kind of instrument for this role. Even with all this talent on display, I was unprepared for perfection. But I felt I was hearing that in the Azucena. No disrespect to Mercado's fine Leonora at all, but in this Trovatore, Verdi's original designation of Azucena as the true prima donna of the work was honored. Sara Murphy is born to sing this role. She has as much beauty and vocal "face" when her tones are of the softest velvet as when she lets out her voice's full power. It seems that every note in her range carries intrinsic expression with it. Whether murmuring "Mi vendica" or triumphantly pealing out a top C in the duet cabaletta with Manrico, no sound in her voice seems abstract. It's always imbued with meaning and heart. She is a true artist as well as a phenomenal vocalist. She is ready to perform these Verdi mezzo roles today on any stage in the world. As for comparisons, I don't make this one lightly, but I seriously feel that hers is the finest Azucena I've heard since Dolora Zajick's. Every requirement in the role was fulfilled, and fulfilled with consistent ease and musicality -- and soul. It's a credit to the accompanist, Brian Holman, that he was able to follow the dynamics and the phrasing of his striking young cast so faithfully. Rarely did one have a feeling that the singers were fighting the piano (something I've heard too often at occasions of this kind). Last but certainly not least, full credit has to be given to tenor Francisco Casanova, who prepared all four principals rigorously for this performance. He has not only drilled them well in the vocal preparation but in matters of style as well. The authentic feel to all the music-making on this occasion was ultimately due to him. And he managed to communicate something even more precious in addition: a real love of Verdi's genius. Bravo, Maestro. If I could go to this again, I would in a heartbeat. I'm sorry I'll have to miss the last performance on Thursday the 21st (8:00PM). But I urge anyone who can make it to go! This may be the last chance you have to see and hear Murphy and Mercado live without paying for a very expensive ticket. These are authentic Verdians who are clearly on their way and who invest their music with real feeling and true vocal power. The Manrico and the Di Luna will be different from Saturday, but given Francisco Casanova's teaching, I hope for good things. And certainly, it will be exciting in the future for you to be able to say that you were lucky enough to have seen Murphy and Mercado back when. Good luck! Geoffrey Riggs |
www.veramusicaltd.com dedicated to excellence
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