Jette Parker Young Artists Programme Summer Concert: Royal Opera House, Covent Garden. 23.07.06 (ED)

 

Those in the know have flocked to the Royal Opera House annually for some time now, when the Main Stage has been given over to the Young Artists. It was particularly pleasing that the house was exceptionally full for this Summer Concert as the current group of Programme participants are possibly the finest to date. For the first time both of the conductors in the Programme shared podium duties and the stage action was masterminded by Programme participant director Harry Fehr. But lest anyone should think of this as the singers’ sole contribution in the House, it bears stating once more that their acting and singing has been of a remarkable standard throughout the year, as I have drawn attention to on numerous occasions in my reviews.

 

The programme for the Summer Concert this year was given an ingenious ring form in that it began and ended with all singers seated on stage. At first it seemed as if we might be in for unstaged concert performances of the listed items, but with disarming imagination Harry Fehr conjured action and neatly utilised those on stage to link the variety of scenes together seamlessly, leaving only the conductors to pass the baton back and forth.  The Orchestra of the Royal Opera House formed the backdrop to the action, for once sharing the stage and no small part of the limelight, to give sterling support to the singers.

 

Gounod - Faust (Act I excerpt)
Faust : Nikola Matišic
Méphistophélès : Robert Gleadow

Rory Macdonald (conductor)

The pliable phrasing and fullness of orchestral tone far exceeding the quality of that achieved during the last full run of Faust at the Royal Opera was produced under Macdonald’s committed direction. Nikola Matišic, possessing a strong and clear tenor, brought believability to Faust and was all too eager to sign his life away. There was little doubt though that Robert Gleadow’s Méphistophélès pulled the strings. Malevolence was in every creeping gesture and insinuated nuance. Harry Fehr’s directorial masterstroke was to have Méphistophélès bring the other participants to life as if by magic, encouraging Ana James, Liora Grodnikaite and others to throw tempting glances to Faust as his fate was sealed. The rare beauty of Gleadow’s supple bass aided Méphistophélès’ in his task immeasurably.

Donizetti - La Favorite (Act I, sc. iv-vi)
Inès : Ana James
Léonor : Liora Grodnikaite
Fernand : Andrew Sritheran

Oliver Gooch (conductor)
 

The first of the evening’s two Donizetti items was conducted with a lively sense of pacing by Oliver Gooch. The singing too was reasonable, though not on the same level as that for the preceding Faust item. Andrew Sritheran all too readily announces that he is ripe for the Heldentenor repertoire, but gainfully tried to scale down his voice to cope with the lighter tone called for by the composer. Liora Grodnikaite’s smoky tone worked well with Sritheran’s passionately projected style of delivery. Ana James varied the tonal palette with her expressive coloratura.

Donizetti - L'elisir d'amore (Act II, sc. vii-viii)
Adina : Marina Poplavskaya
Nemorino : Robert Murray

Rory Macdonald (conductor)

One had almost forgotten that Robert Murray had been sitting patiently in a corner of the stage when he launched into ‘Una furtiva lagrima’ with sensitivity of line and some generosity of tone. The interplay of emotions that was established with Marina Poplavskaya’s Adina carried the action forward, aided in equal measure by sureness of acting and voice on both parts. The tremulous nature of human feelings – love, rejection and the fine line in between – was adroitly sketched.

Mozart - Idomeneo (Act II, sc.i-iii)
Ilia : Katie Van Kooten
Arbace : Nikola Matišic
Idomeneo : Andrew Sritheran

Rory Macdonald (conductor)

 

‘Idomeneo’ is not the easiest of vehicles for young singers to tackle because its plot based in the realm of mythology can have certain remoteness about it. This also can make it harder than other Mozart stage works for audiences to get a handle on. The recitative was given real intimacy through the continuo playing of Susanna Stranders that neatly underlined the vocal part. Andrew Sritheran seemed decidedly more at ease vocally and expressed himself with articulate acting too.  Nikola Matišic was an intelligent match in tonal terms. Katie Van Kooten showed, not for the first time in my hearing, what an accomplished Mozartian she is: the 24 carat shimmer of her voice simply oozes star quality.

 

Smetana – Overture, The Bartered Bride

Rory Macdonald (conductor)

Given at a tempo that whipped along with great enthusiasm, this overture opened the second half. Ebb and flow of line was found along with much precise articulation within the parts, That Rory Macdonald conducted the overture with some ebullience and flair for the big tune helped immensely in achieving a superbly passionate result.

 

Mozart - Don Giovanni (Act I, sc.ix-xiv)
Zerlina : Ana James
Donna Elvira : Marina Poplavskaya
Donna Anna : Katie Van Kooten
Don Ottavio : Robert Murray
Don Giovanni : Robert Gleadow

Oliver Gooch (conductor)
 

It might be said that Don Giovanni gave Robert Gleadow not much opportunity to show a vastly different persona from that he portrayed as Méphistophélès. But who could care when Mozart’s Don is such a natural vehicle for his seductive looks - my wife was won over with worrying ease! – and richly beautiful voice. Ana James caved in to the Don’s charms too and throughout ‘La ci darem la mano’ Zerlina’s awakening was evident. Marina Poplavskaya’s Donna Elvira thwarted the Don’s plans with impeccable timing and force of character, though quite why she was plunged into darkness for much of the scene I cannot fathom. At least what we could see of her acting told that she was believably wronged. Katie Van Kooten’s Donna Anna was fine grained, exhibiting passion without being wholly wild of temperament. Robert Murray rounded off the ensemble with fine legato singing in ‘Dalla sua pace’, finding much in the way of piano shading along the way.

Strauss - Der Rosenkavalier (Act III trio).
Sophie : Ana James
Die Marschallin : Katie Van Kooten
Octavian : Liora Grodnikaite
Faninal : Robert Gleadow

Rory Macdonald (conductor)

 

The run up to the final trio from ‘Der Rosenkavalier’ might have taken a little while gather emotional momentum, but when it did the reading found good form. By this stage in proceedings the orchestra had clearly warmed to Rory Macdonald’s incisive beat to produce a sound that had real depth to it. Katie Van Kooten was the picture of quiet resignation as The Marschallin, worldly wise and accepting of her fate. Ana James imbued Sophie with simplicity of line and gesture. Liora Grodnikaite was all impetuous youth as Octavian. During their extended duet acknowledging the love their characters feel for one another, Van Kooten quietly exited to re-emerge with the other Programme members.  The full glory of Rosenkavalier’s heights might not have been scaled, but it showed nonetheless that all the artists were very much on the right lines.   The atmospheric lighting turned from sky blue to a golden sunset, and drew the evening to a close. My thanks and congratulations to one and all.

 

Evan Dickerson