COC Ensemble Studio at the Richard Bradshaw Amphitheatre. Tuesday, September 27.
Every September, Toronto opera lovers look forward to the unveiling of the COC Ensemble Studio, which evolves as old members “graduate,” to be replaced by new artists. I think I speak for myself and other voice fans — there’s nothing like discovering new voices, some of them destined to be the stars of the future. The standards of the COC Ensemble Studio is very high — all the singers have beautiful voices (or technical prowess in the case of the pianists), solid training, musicality, the desire to communicate, and the drive to pursue a career in music. Yesterday, the 2016-17 edition of the Ensemble had its inaugural noon-hour concert at the Richard Bradshaw Amphitheatre. It was quite the occasion, with a larger than usual crowd, made up of the audience “regulars” plus many donors and supporters of the Ensemble.
The 2016-17 Ensemble Studio is unusual in that seven out of ten members are new — six singers and one pianist. They are sopranos Danika Lorèn and Samantha Pickett, mezzos Lauren Eberwein, Megan Quick, and Emily D’Angelo, baritone Bruno Roy, and pianist Stéphane Mayer. They join three “sophomores” from last year – tenors Aaron Sheppard and Charles Sy, and pianist Hyejin Kwon. I had the good fortune of having already heard the seven “newbies” a couple of weeks earlier, at the President’s Council Season Opening Party. Their selections for the noon hour recital were identical to that earlier concert.
Soprano Danika Lorèn kicked off the proceedings with the showy “Endless pleasure, endless love” from Handel’s Semele. Lorèn was a standout the last couple of years at the U of T Opera school, and she continues to develop nicely. She sang this aria with her gleaming light lyric tone, even up and down the scale, not to mention admirable agility. A very promising singer indeed. Lorèn was followed by mezzo Megan Quick, who sang one of the best known of all Baroque arias, “Che faro senza Euridice” from Gluck’s Orfeo. Quick impressed all of us a few months ago in a performance of Das Lied von der Erde. She has a large, rich low mezzo bordering on contralto, the kind of voice that’s in short supply these days. Her “Che faro” impressed with rich, mellow tone. Stéphane Mayer, whom I heard playing beautifully this past year at several masterclasses, was excellent once again, rock solid in his support of the two soloists.
Another new member, mezzo Lauren Eberwein, sang Sesto’s very challenging aria “Svegliatevi nel core” from Handel’s Giulio Cesare. Her high mezzo and slim figure are tailor-made for trouser roles — I can totally see her as a fine Sesto and Cherubino, and even Octavian as she develops. The Sesto aria is very long and very demanding, one that pushes at both extremes of a mezzo’s range. Eberwein sang well in the middle register, while the top and bottom didn’t have quite the freedom yet, but it will likely come with further seasoning. Tenor Aaron Sheppard was next, with Nemorino’s ingratiating “Quando e bella, quanto e cara.” In the course of a year, Sheppard has developed a firm technique, including an unusually soft head voice which is ideal in this aria, which he sang with plaintive tone. He has also reigned in his naturally larger sound for the tenore di grazia repertoire, which I imagine is his direction for the future.
Soprano Samantha Pickett offered “O malheureuse Iphigenie” from Gluck’s Iphigenie en Tauride. Hers is a lyric soprano of good volume, with focused tone and slightly cool timbre. She sang the aria quite well, albeit with a somewhat steely tone at the top of her range. A bit more chiaroscuro would have been welcome. She was followed by the only new male singer this year, baritone Bruno Roy. To my ears, his pleasing high baritone has almost a tenor-like quality, and he delivered Mercutio’s aria from Romeo et Juliette with a bright tone, lots of energy and engaging stage presence.
Tenor Charles Sy, in his second year as an Ensemble member, sang “Kuda, kuda,” Lensky’s poignant, soul-touching aria from Eugene Onegin, one of the most beautiful of all tenor arias. Sy’s voice has increased in volume and his tone, always warm and pleasing, has become more robust. I like his “Kuda, kuda,” very much, sung with passion and intensity. That said, I would have liked a bit more head voice — this aria demands it! There was also a slight blemish in one note in a high phrase near the end, I believe a G, that sits in an awkward place in a tenor’s passaggio, but these are minor glitches in an otherwise fine performance.
The last singer was mezzo Emily D’Angelo, arguably the highest profile singer of this year’s Ensemble Studio. She has won a ton of competitions, including the prestigious Met Auditions in March of this year. To my ears, she is the most “complete” of all the young artist in the Ensemble. She chose Rosina’s “Contro un cor” from Il barbiere di siviglia. Unlike “Una voce poco fa”, this “voice lesson” aria is less vocally showy but just as difficult and requires great acting. D’Angelo was perfect. I am not a frock-watcher, but I couldn’t help noticing the brilliantly beautiful skirt she was wearing. Through it all, Korean pianist Hyejin Kwon was exemplary in her attentive support. Bravi to both.
There you have it, the 2016-17 Ensemble Studio. A very fine group of young artists. No doubt some are more ready for prime time than others, as they are in different stages of development. But without exception, they all have beautiful voices, solid foundation, and the requisite musicality. I am sure the COC coaches will bring out the best in each of them. I for one look forward to hearing them in the course of the season.
#LUDWIGVAN
Want more updates on Toronto-centric classical music news and review before anyone else finds out? Get our exclusive newsletter here and follow us on Facebook for all the latest.
