It’s been a number of years since I attended AVA—Philadelphia’s Academy of Vocal Arts—and I loved the reacquaintance. Their Giargiari Bel Canto Competitors is at all times a good way to listen to lots of the resident artists, and this yr was a bumper crop, with 16 members! The bigger quantity meant limiting every singer to a single aria, however most took benefit with substantial excerpts.
Right here’s a run-down of some highlights.
The Prize Winners (in reverse order):
Apparently, it broke down to 2 tenors and two mezzos. (One of many judges was Dolora Zajick, so she definitely is aware of her mezzos!) A tie for Second Place Prize made for a complete of 4 singers who positioned:
Third Place Prize: Katherine Dobbs (mezzo-soprano). Dobbs has a powerful lyric mezzo with vital energy and weight behind it. She selected “Parto, parto” from La Clemenza di Tito as her solo, and it confirmed off her big selection and wonderful tone. Efforts to infuse the piece with drama have been typically distracting and executed on the expense of line, and her triplets weren’t ideally exact. But it surely’s a very good instrument.
Second Place Prize: Joshua Berg (tenor) / Matthew Sink (tenor). The tenors who tied for Second Place are an attention-grabbing distinction. Berg’s beautiful lyric tenor and good sense of line will serve properly in lyric bel canto roles, and particularly in Mozart: his competitors solo, “Dies Bildnis ist bezaubernd schon” from Die Zauberflöte, is deceptively tough, and he did it with grace and polish. Sink is a real dramatic tenor within the making—his “Vesti la giubba” rang out powerfully in the home with a shade and emotionality that made one consider Richard Tucker. (“That is the type of voice we’d like,” whispered my husband, shortly after Sink began to sing.) Extra polish is required, but it surely’s a really thrilling sound.
First Place Prize: Dawson Franzino (mezzo-soprano). Franzino additionally received the Viewers Prize, and it’s simple to see and listen to why. It’s a sit-up-and-take-notice voice — a real mezzo with a columnar evenness of tone all through a wide variety. La Cenerentola’s “Nacqui all’affanno… Non più mesta” confirmed off all of this impressively. I discovered among the vocal ornaments awkward, and her Cenerentola right here appeared extra virtuosa than charmeuse. I might think about that among the extra dramatic coloratura mezzo repertoire would possibly swimsuit her higher (Arsace in Semiramide, maybe), and she or he definitely looks as if a future Carmen. No matter path Franzino takes, I predict she’ll discover success.
Two Singers I Would Have Awarded Prizes:
Ryan Wornall (bass): A real bass is uncommon, and the tall, imposing Wornall is simply that. It’s a terrific instrument, stuffed with shade and presence. His solo, “Vous qui faites l’endormie” from Faust is comparatively quick and showy. As but, he doesn’t fairly have the easy Gallic allure to totally pull off the piece, however the difficult laughing passages, which frequently really feel pressured, have been beautifully executed.
Lovely Sheriff (soprano): For my cash, Sheriff’s “Ain’t It a Fairly Evening” from Carlisle Floyd’s Susannah was the excellent efficiency of the evening. Higher register phrases have been ravishingly beautiful… however at the least as necessary, Sheriff—alone among the many group—appeared to dwell throughout the music, subtly and effortlessly at one with the character. There have been some points—her diction was sometimes occluded, and among the decrease phrases didn’t register in addition to they could. However there’s one thing particular about Sheriff—a small girl with a terrific expertise. As Helena famously says of Hermia in A Midsummer Evening’s Dream: “And although she be little, she is fierce.”
Just a few common observations:
- This looks as if an unusually big-voiced group—within the intimate Perelman Theater, typically performances felt virtually uncomfortably loud. Huge voices are a very good factor in opera, in fact—however right here, in virtually each case, I needed for extra mezzo-forte and piano singing.
- As with the push for quantity, lots of the singers tried too exhausting to “act” their arias. Those that made one of the best impression as mature artists usually moved and gestured the least, letting their vocal performances present the drama. Greatest on this regard have been Sheriff and Berg (see above), in addition to mezzo Maiya Williams and baritone Jacob Hines.
- With 16 singers, clearly limiting every to a single aria was mandatory, however I hope sooner or later they return to 2. Typically the possibility to sing twice helps dispel a singer’s nerves, and a second aria, particularly if it’s in a special fashion, actually offers a fuller image.
All of the taking part singers have been accompanied by AVA Music Director and Pianist Danielle Orlando, who acquired an enormous ovation on the shut of the night.
And that’s a rap for me, although I’m wanting ahead to listening to these singers and extra in at the least among the AVA operas this yr (they embrace L’ Elisir d’Amore, Il Trovatore, and a double invoice of Il Tabarro with Gianni Schicchi.
Our critic reviews on the bumper crop of younger singers at this yr’s Giargiari Bel Canto Competitors in Philadelphia.
