Tag: Tucker Gala

The Tucker Gala @ Carnegie Hall ~ 2024

Above: Rlchard Tucker

~ Author: Oberon

Sunday October 27th, 2024 – The 49th annual Richard Tucker Music Foundation gala took place this evening at Carnegie Hall. It was an excellent program – including one aria that is rarely performed – with much impressive vocalism. The evening descended into silliness during the encores, but the audience overwhelmingly approved of la commedia, leaving me feeling like an old stick in the mud.

You always run into people you know at the Tucker Gala. I was especially happy tonight to run into my friend – and fellow Patricia Brooks fan – from back in the day: Matthew Epstein.

Photo by Dario Acosta

Following tradition, the first voice we heard was that of Richard Tucker singing the “Addio alla madre” from CAVALLERIA RUSTICANA. The power and passion of his voice are immortal.

Above: Nadine Sierra, photo by Dario Acosta

After Barry Tucker’s welcoming speech, the program commenced with Mimi’s narrative “Mi chiamano Mimi” from LA BOHEME; this brought Nadine Sierra and pianist Bryan Wagorn together in a rendition that was a bit slower than we might be accustomed to, but which gave us more time to savour Nadine’s luxuriant phrasing and lovely tone. She made the slow rise to B-natural before commencing “…ma quando vien o sgelo…” which makes such a magical effect. Listening to her this evening made me think that Nadine could now venture into roles like Mimi, Liu, and Amelia Grimaldi, and even Desdemona and the TROVATORE Leonora.

Quinn Kelsey (above, photo by Dario Acosta) then took the stage, accompanied by Howard Watkins, for a truly magnificent “Eri tu” from BALLO IN MASCHERA. This was opera at its grandest, the singer filling the Hall with a flood of golden tone, achingly heartfelt in the character’s distress and his sense of defeat and resignation. This is a baritone voice to rank with the greatest of my experience: Warren, Merrill, MacNeil, Milnes, and the unforgettable Dmitri Hvorostovsky.

Jamie Barton (above, photo by Dario Acosta), looking like an errant Valkyrie in her metallic-silver frock, was hilarious in the Witch’s aria from HANSEL & GRETEL. Mr. Watkins at the piano was a perfect accomplice to Jamie’s rowdy, riotous performance. Later, we would hear Jamie in bel canto mode, and finally as a top-flight songstress.

Rachel Willis-Sorenson (above, photo by Dario Acosta), who the day before had joined Jamie Barton and Michael Fabiano in a rousing Met matinee of TROVATORE, today gave us the immortal “Casta viva” from Bellini’s NORMA. Although this bel canto jewel really needs an orchestra-and-chorus setting, Ms. Willis-Soremson and Mr. Wagorn were so persuasive that such concerns became irrelevant. With her impressive breath control, the soprano commanded the long phrases, introducing subtle nuances along the way. She concluded the aria with a gorgeous cadenza and then spun out an incredible inverted trill before sustaining the final note.

Above: Michael Fabiano, photo by Dario Acosta

At yesterday’s Met TROVATORE, a commotion in the wings after “Di quella pira” had raised questions; this evening they were answered: Michael Fabiano had fallen on exiting the stage and sustained an injury; he had managed to finish his Manrico – but, as anyone who has taken a fall knows – it’s the day after that the soreness manifests itself. The poor tenor – heroic, but obviously in deep pain – was slowly helped onto the stage by Mr. Watkins. Michael spoke briefly of the incident, then regaled us with a sublime rendering of Henri Duparc’s “Phidylé“, displaying his lyrical side after yesterday’s powerhouse Manrico.

Above: Elena Villalón, photo by Dario Acosta

Giving us some the most delightful singing of the evening was the soprano Elena Villalón, a Tucker Grant winner and currently at The Met in the Golijov AINADAMAR, having debuted there in the previous season as a charming Amor in ORFEO ED EURIDICE. Tonight, looking ravishing in her deep blue gown, the Cuban-American soprano sang Manon’s double aria from the Cours la Reine scene from the Massenet opera, with Mr. Watkins a gallant companion. The Villalón Manon is captivating, and she won my heart just as Patricia Brooks, Jeannette Pilou, and Lisette Oropesa have done in the role over the years.

Anthony Roth Costanzo (above, photo by Dario Acosta), in a sparkly shirt, was simply magnificent in Handel’s Stille amare from TOLOMEO. The voice is so delectable to hear in the Carnegie acoustic. Anthony’s emotional connection to the music – and his sublime pianissimi – were truly touching to experience.

Above: J’nai Bridges, photo by Dario Acosta

Til tonight, I’d never heard Sapho’s grand final aria from the Gounod opera named after her sung live; but I’ve thrilled to its sense of grandeur and doom since by chance hearing a recording of Heather Begg singing it in English many, many moons ago. Thank you, J’nai Bridges, for bringing this splendid aria to currency. Mr. Wagorn was again simply perfect as the mezzo, resplendent in a mint green gown, delivered the poignant recit and majestic aria – which ends on a thrilling top note that Ms. Bridges sustained mightily – so convincingly that the vision of the heroine hurling herself into the ocean at the end was palpable.

Above: Anthony León, photo by Dario Acosta

Anthony León, 2022 1st prize and the Zarauela prize winner at the Operalia competition, sang a poetic “Una furtiva lagrima” from ELISIR D’AMORE with Mr. Watkins giving the youthful tenor wings on which to fly. The voice is sweet and clear, the singing so sincere, the words lovingly set forth, and the final phrase finely controlled.

Above: Ryan Speedo Green, photo by Dario Acosta

After hearing his Serenade this evening, we must have Ryan Speedo Green’s Don Giovanni in the next Met revival of the Mozart masterpiece: such a suave singer, with charisma to burn. Ryan had sung a commanding Ferrando in yesterday’s TROVATORE, and I look forward his Spirit Messenger in the upcoming Met revival of FRAU OHNE SCHATTEN…to say nothing of his impending Zankel Hall recital on January 22nd, 2025…check out the program here!

Above: Nadine Sierra and Quinn Kelsey; photo by Dario Acosta

In the great duet of Gilda and her father from RIGOLETTO, Nadine Serra and Quinn Kelsey seemed to give us the very essence of opera. With perfect musical support from Mr. Watkins, the two singers wandered about the stage, seemingly unable to face one another after the jester’s beloved Gilda’s had been defiled at the hands of the Duke. From “Piangi, piangi fanciulla…”on, Quinn held Nadine in his consoling arms. Their singing was so compelling, and Mr. Watkins’ playing so true to the music, that for a brief time we were transported to that poetic place that only opera can carry us up. By the end, Nadine was weeping. The audience response was delirious, and rightfully so.

Mlles. Willis-Sorenson and Barton (above, photo by Dario Acosta) brought bel canto to the fore with “Mira, O Norma” from the Bellini opera, Mr. Wagorn playing a key role in this beloved duet of rivals who become – if only briefly – fast friends. The voices made for a very congenial blend, the harmonies lingering so endearingly in he ear. Following the slow section, a dramatic exchange between the women was resolved with Ms. Willis-Sorenson’s “Trovo un’amica ancor”. and then they set off the vocal fireworks “Si, fino all’ore estreme”, even etching is some delicious harmonized turns before joining together on the penultimate note.

Above: Angel Blue, photo by Dario Acosta

The previously unannounced Angel Blue made a striking entrance in her red diva-gown. With Mr. Wagorn, she sounded like a goddess; she sang “America The Beautiful” with great ardor, then moved directly to Lee Hoiby’s touching “Lady of the Harbor”, a hymn to the Statue of Liberty. Angel sang with mythic power and pride, an iconic presence as she sang of the hope and the blessings of the American dream.

Encores now commenced with Anthony Roth Costanzo duetting with himself in the cat-and-mouse scene of Susanna and Count Almaviva from NOZZE DI FIGARO.

As a child, I had a Swiss music box that played Stephen Foster’s “Beautiful Dreamer”; I was thinking of this when Nadine Serra and her college pal Bryan Wagorn gave the song a glowing lustre. They ended with a hug of genuine affection.

Mr. Leon was affectionately welcomed back for an ardent, “Non puede ser” with Mr Watkins; and then – singing unaccompanied – Ryan Speedo Green sang “Deep River” straight from the heart. Ms. Bridges returned for a passionate “My man’s gone now” from PORGY AND BESS, and then Jamie Barton sang “It’s You I Like”: a Jake Heggie charmer that mixes Chopin and Fred Rogers.

The evening ended with Nadine, Anthony, and Mr. Wagorn in a musical three-way spoof that was pretty silly, but the audience loved it.

Final bow. This, and all performance photos, by Dario Acosta.

My thanks to Mallory McFarland of Morahan Arts and Media for arranging things for me.

~ Oberon

October 28, 2024
The Tucker Gala @ Carnegie Hall 2023

Above, the artists take a bow at the end of the 2023 Tucker Gala: Sean Michael Plumb, Liv Redpath, Stephen Costello, Howard Watkins, Federica Lombardi, Ben Bliss, Bryan Wagorn, Angela Meade, Quinn Kelsey, Ailyn Pérez, and Soloman Howard. Photo by Dario Acosta.

Author: Oberon

Sunday October 29th, 2023 – The annual Richard Tucker Foundation gala took place this evening at Carnegie Hall. Barry Tucker, son of the illustrious tenor, greeted us and explained that financial considerations had compelled the Foundation to present this year’s concert without an orchestra. But soon after the program began, concerns about the lack of an orchestra were assuaged by the excellence of the two pianists who took turns at the Steinway: Bryan Wagorn and Howard Watkins. Bravo, bravo, bravo gentlemen!

Of the announced roster of artists, Angel Blue, Matthew Polenzani, and Christian van Horn had withdrawn, and basso Soloman Howard joined the line-up on short notice.

The program opened with Sean Michael Plumb, a 2022 Tucker Career Grant recipient, giving an excellent rendering of Figaro’s “Largo al factotum“, with Howard Watkins at the keyboard providing brilliant support. Mr. Plumb’s voice, wide-ranging and handsome of timbre, sounded great in the great Hall.

Bryan Wagorn played beautifully the Catalani aria “Ebben, ne andro lontana” from LA WALLY, sung by Angela Meade. The pervasive flutter of the Meade voice has never been to my liking, but this aria suited her far better than some of the roles she has sung at The Met. She sang passionately, summoning some chesty resonances; the singing was mostly unrelentingly loud, missing the nuances that can make the aria so personal. She was very much an audience favorite, both here and – later – in a duet from TROVATORE.

Soloman Howard, a tall and charismatic basso, offered Fiesco’s great aria “Il lacerato spirito” from Verdi’s SIMON BOCCANEGRA. His singing was powerful: an emotion-ladened outpouring of a father’s despair which becomes poignantly reflective at “Il serto a lei de’ martiri pietoso il cielo diè…”; so engaged was Mr. Howard in the character that one could almost hear the chanting of the mourners from the chapel, even though no chorus was present. The moving final descent at “Prega, Maria, per me…” was heart-breaking in its expressiveness. And Mr. Wagorn at the piano captured the music’s atmosphere to perfection.

New to me, soprano Liv Redpath looked fetching in a ruffled black frock. Rather than the announced Act I aria from LUCIA DI LAMMERMOOR, Ms. Redpath intrigued us with a sterling performance of Ophélie’s mad scene from Ambroise Thomas’s HAMLET. Assured of technique, with a lovely array of pastels in her colour palette – as well as a silvery, limpid quality to her coloratura – the comely soprano had the Carnegie crowd fully engaged. Mr. Watkins at the piano created the scene’s atmosphere from note one.

Bringing his lovely timbre and engaging style to the Duke of Mantua’s aria “Parmi veder le lagrime” was the tall, slender tenor Ben Bliss. A Mozart specialist, Ben always manages to combine passion and elegance in his singing. Mr. Watkins was again perfect, setting a properly impatient pace for the cabaletta, “Possente amor mi chiama” (‘A powerful love calls me!’).

The tall and striking Italian soprano Federica Lombardi, who has won a lot of hearts at The Met with her superb singing of Mozart’s Contessa Almaviva, Elettra, and Donna Anna, tonight offered a spellbinding performance of Anna Bolena’s mad scene from the Donizetti opera. Clad in an elegant blue gown, the soprano looked queenly indeed, and her long arms and expressive hands seemed to shape the music to touching effect. Following a ravishing “Al dolce guidami“, she sang a single verse of the cabaletta “Coppia iniqua!” which was taken a bit too fast and which really needs both verses (and the chorus’s interjections) to be really meaningful. Nevertheless, the overall effect of Ms. Lombardi’s performance was fascinating.

The next two selections were thrilling: Quinn Kelsey’s sustained, gorgeously phrased singing of Macbeth’s “Pieta, rispetta, amore” is everything you want from a Verdi baritone. The voice is huge, warm, and awash with a sense of the human spirit: singing that simply reduced me to tears.

Stephen Costello followed Mr. Kelsey with a magnificent rendering of the haunting aria “Deserto in terra” from Donizetti’s DON SEBASTIANO. In this aria, Don Sebastiano, king of Portugal, stands alone on a battlefield strewn with corpses and longs for the consolation of his beloved. Mr. Costello’s depth of feeling, his passion, and his poignantly styled phrasing went straight to my heart, and his top notes were amazingly clear and sustained. Luciano Pavarotti and John Osborn have given us glorious voicings of this aria, and Mr. Costello’s can stand proudly alongside them.

More Donizetti, on a cheerier note, brought us Ms. Redpath and Mr. Plumb in the charming duet of Norina and Dr. Malatesta from DON PASQUALE. They sang it beautifully, not over-doing the comic effects.

Ailyn Pérez sang Butterly’s “Un bel di” most attractively, though for me it is an aria that doesn’t work very well in concert, being too narrative. Ms. Pérez produced some silky piano moments, exploring the character’s vulnerability beneath her steadfast belief in her husband’s return. The soprano’s gown was something else.

Ms. Lombardi and Mr. Bliss made a very attractive couple – both physically and vocally – in the duet “Parigi o cara” from TRAVIATA. They are well matched in height, and they established an instant rapport, their timbres blending to perfection, their ardent phrasing so savourable. Bravi! Could we have them together in the Met’s next TRAVIATA revival?

Ms. Meade and Mr. Kelsey gave a full-tilt performance of the Leonora/Di Luna duet from TROVATORE…

…and then Mr. Costello (stepping in for the absent Matthew Polenzani) and Sean Michael Plumb sang the affecting, brotherly duet “Au fond du temple saint” from LES PECHEURS DES PERLES with its heartfelt harmonies. The two brought poetic ardor to their singing, their timbres entwining persuasively. They embraced at the end.

There were encores: Ms. Lombardi in a zarzuela aria which was a bit too long, though finely sung, and Mr. Bliss in a song that was too small-scaled for the big space. Ms. Pérez gave a sensual touch to Manuel Ponce’s “Estrillita“, with some ravishing pianissimi. Mr. Kelsey and Mr. Costello added further laurels to their vocal triumphs earlier in the evening, the baritone with a mind-bogglingly perfect “If ever I would leave you” from CAMELOT, and Mr. Costello pouring out his heart and soul in a thrilling “Core ‘ngrato“.

All photos by Dario Acosta, courtesy of the Richard Tucker Foundation.

~ Oberon

October 29, 2023