Though the close of Chicago’s opera season always brings some sadness, compensation is provided with the annual “Night of the Rising Stars.” Having evolved into a popular musical event in its own right, the season-ending concert affords the talented young singers of the Lyric Opera Center for American Artists an opportunity to strut their musical stuff in the solo spotlight before some leave the Lyric nest to pursue individual vocal careers.
For Saturday night’s concert at the Civic Opera House, the singers elected to bid Addio by turning to the Lyric’s Italian repertoire tradition, with an evening devoted mostly to Bel Canto music, featuring the big three of the genre, Rossini, Bellini and Donizetti.
To be sure, there was much fine vocalizing from these gifted young artists, and center director Richard Pearlman’s wry and witty introductions are always a hoot. Yet pacing was a little off this year. The program, heavy on slow, soulful cantalenas, could have used more variety–and verismo–to break things up. In concert, a few cabalettas can go a long way.
Moscow-born tenor Misha Royzen got the evening off to a rousing start with a stirring rendition of the Invocation to Orfeo, from Jacopo Peri’s “Euridice,” acknowledged as the first opera ever penned. The Russian singer possesses a powerful, clarion instrument, which he scaled down nicely in ensemble excerpts.
Another singer from Eastern Europe, Uzbekistan soprano Elena Kolganova provided one of the highlights with her beautifully poised and spacious rendering of “Piangero la sorte mai” from Handel’s “Giulio Cesare.”
In his first year at the center, American baritone Kirk Walker proved adept at buffo in a “Don Pasquale” duet, but really scored in his “Largo al factotum,” delivering Figaro’s tongue-twisting braggadocio with fine comic timing and strikingly clear articulation.
William Andrew Stuckey demonstrated fine dramatic fettle and stage presence in a Donizetti duet with Kolganova and showed his resonant baritone to best advantage in an aria from Lortzing’s “Zar und Zimmerman.” Stuckey also blended admirably with bass-baritone Mark McCrory in the heroic duet from “I Puritani.”
Besides having the best name, Buffy Baggott posseses a smoky mezzo timbre, which made her strong top notes in “Ah, quel giorno” from Rossini’s “Semiramide” all the more notable. In the duet from Monteverdi’s “L’Incoronazione di Poppea,” Baggott and Royzen’s poised, sweetly blended singing was sensitively done.
Tenor Stanley Jackson’s attractive voice and Alicia Berneche’s pure soprano scored in Rossini, and mezzo Jessie Raven and bass-baritone Mark McCrory sang well in several selections.
Already heard in important supporting roles at Lyric this past season, departing singer Robin Blitch Wiper displayed her lovely high soprano and charming stage presence in ensemble excerpts from Rossini’s “Le Comte Ory.” The first act finales from “Comte” and “L’Italiana in Algeri” provided superb ensemble singing from all, wonderfully pointed and articulated with great clarity.
