Showing posts with label New York Times. Show all posts
Showing posts with label New York Times. Show all posts

Friday, November 19, 2010

The Fast And The Furious Starring Anna Netrebko And Deborah Voigt (Sans Vin Diesel)

On Sunday, November 14th 2010, the 35th annual Richard Tucker Gala was held at Avery Fisher Hall at Lincoln Center in New York. Tucker, a famous Brooklyn-born tenor, passed away in 1975. Shortly thereafter, a foundation in his name was formed which fosters the careers of emerging singers.

A few things about this most recent gala caught the attention of Fresco. First was the pacing of the performance. Without an intermission, and in less than 2 hours, 16 singers performed 18 pieces. Very brisk by RT gala standards, as past performances have been known to go on and on and on.... for hours. No doubt, this was a refreshing change for the annual patrons of this event.

Also refreshing was the material some of the singers chose to perform. Many of them consider this annual gala an opportunity to try something unusual and have fun. Anthony Tommasini, the New York Times music critic, writes in his review "Anna Netrebko (pictured above) performed an aria from Emmerich Kalman's operetta The Gypsy Princess. Her voice soared over the chorus as she sang, shimmied and twirled in circles." Fun indeed. The link to Tommasini's full review is below.

Finally, the mission of the Richard Tucker Foundation is something Fresco admires: to help launch the career of an aspiring international opera star. Last year's winner, James Valenti, won the $30,000 prize. But perhaps more important than the actual prize may be recognition all the performers and candidates receive at this event. It seems to be a great vehicle for promoting this art form we all love. The 2010 gala in particular gets us excited because of this fresh approach to operatic music by the performers.

Which brings us back to us - Fresco. Fresh. Richard Tucker's debut at the Met is one of the more legendary stories from an organization that is long on legendary stories. He was a fresh voice with an exciting presence at that debut. One can't help but feel the RT gala took a step in the right direction this year with this performance, inspired perhaps by the spirit of Mr. Tucker.

Fast and fun. And Fresh - or Fresco.


http://www.nytimes.com/2010/11/16/arts/music/16tucker.html?_r=1

Monday, November 8, 2010

Risky Baritone Business

Gerald Finley, the Canadian born baritone has come a long way from his reluctant musical beginnings as a child. But it soon became clear that music was in the cards when at a young age he was promoted to head choirboy at his church in Ottawa. Suddenly football and sleigh rides became less of a priority.

What makes Finley so unique, along with his wonderful voice, is the diverse repertoire he chooses to perform. Yes, he does the Mozart and Verdi roles, but then he also does works by Tobias Picker, Mark-Anthony Turnage and John Adams.

Turnage is responsible for "Anna Nicole," drawn from the tabloid life of Anna Nicole Smith to be performed with the Royal Opera in London, in which Finley will be featured. Before that however, he will sing the part of prince Golaud in Debussy's "Pelléas et Mélisande," to be performed at the Metropolitan Opera.

While only the test of time will determine if material such as "Anna Nicole" will persevere and be successful, clearly Finley is pushing himself in singing the standard roles along with exploring what is new in opera today. And he has the chops to do it.

While one would think singing a role in a modern, untested opera would be nerve wracking, the most daunting role for Finley is the bass's entrance in Handel's "Messiah" after the long opening aria by the tenor. "Frogs have been known to spawn in my throat while I'm waiting," he says. Finley will be performing the Messiah this week with the New York Philharmonic.

Gerald Finley is an exciting performer who clearly is willing to take risks, and hopefully can inspire others to do the same. There are times in music and performance that risk is necessary to reach an audience. And when the risk pays off, there is no better reward, for the audience or performer.

http://www.nytimes.com/2010/11/07/arts/music/07finley.html?pagewanted=1&_r=2&ref=music