COC Centre Stage 2016 Ensemble Studio Competition. November 3, 2016, at the Four Seasons Centre for the Performing Arts.
One of the joys of being an opera fan is to discover new voices and what better place to find them than in a vocal competition? And in Toronto, we have one right here on our doorstep — the annual Canadian Opera Company Ensemble Studio Competition. It started modestly in 2011 and 2012, taking place in a small space that’s known as the Richard Bradshaw Amphitheatre. In 2013, it became “big time” — rebranded Centre Stage — with full orchestra, in the R. Fraser Elliott Hall, the main auditorium. Each year, pre-auditions are held across the country where aspiring young singers sing for the judges. A few are chosen to come to Toronto for the big event. The number varies from year to year, depending on the available voices and the casting needs of the coming season.
This year, it was seven contestants — sopranos Andrea Lett, Andrea Nunez, Maria Lacey, and Myriam Leblanc, mezzo Simone McIntosh, and baritones Geoffrey Schellenberg and Samuel Chan. The MC was tenor Ben Heppner. Music Director Johannes Debus led the COC Orchestra. The jury panel is essentially the same from year to year, often with an additional guest panelist. This year the guest was American tenor Neil Shicoff, who had been teaching in the Ensemble Studio. He was joined by Alexander Neef (General Director), Roberto Mauro (Artistic Administrator), Nina Draganic (Director of COC Ensemble), Liz Upchurch (Head of COC Ensemble), and Wendy Nielsen (Head Vocal Consultant).
There were two parts to the Competition, a “private” session with a very small audience made up of a few COC donors and members of the media, followed by the “public” session, opened to anyone who purchased a ticket to the event. Since Centre Stage doubles as a fund-raising event, for a cool $1,500 a plate, you get to dine on the stage of the opera house, and serenaded by members of the current COC Ensemble Studio, all for a good cause! Each candidate sang one aria in each of the two sessions. Below is the complete repertoire list, with (*) indicating selections in the earlier, private session:
Geoffrey Schellenberg, baritone / Valentin’s Aria (Faust)* / “Largo al factotum” (Barber)
Simone McIntosh, mezzo / “Voi che sapete” (Nozze)* / “Una voce poco fa” (Barber)*
Andrea Lett, soprano / “Chacun le sait” (La fille)* / “Ach, ich fuhl’s” (Zauberflote)
Andrea Nunez, soprano / “Deh vieni, non tardar (Nozze)* / “No, no, I’ll take no less” (Semele)
Maria Lacey, soprano / Juliette’s Waltz (R&J)* / “Prendi, per me sei libero” (L’elisir)
Samuel Chan, baritone /Harlequin’s Arioso (Ariadne)* / Count’s Aria (Nozze)
Myriam Leblanc, soprano / Juliette’s Waltz (R&J)* / “Regnava denl silenzio” (Lucia)
As Centre Stage audience members, we were encouraged to vote for our favourites in the main session. Like everyone else, I had my favourites. That said, voice preference is a very subjective thing, and we all hear things differently. To be honest, all the candidates possess beautiful voices, backed by solid training and musicality. Any of them would have made a worthy addition to the Ensemble.
In the private session, Maria Lacey kicked off the proceedings with Juliette’s Waltz, sung with lovely tone and attractive stage presence. Her coloratura was very good, only falling a little short in the quick runs where the notes weren’t ideally distinct. She was followed by Geoffrey Schellenberg, whose lyric baritone, warm and ingratiating albeit with modest volume, was just right for Valentin’s aria. With his easy top, the high notes were nicely done. I would have liked more expression though instead of the stock hand gestures. Mezzo Simone McIntosh’s voice is familiar to me, having heard her in Toronto Summer Music. Her “Voi che sapete” was beautiful, sung with opulent tone and a few added appoggiaturas, never mind her stunningly beautiful gown was a little unusual for Cherubino!
Andrea Lett offered Marie’s sparkling aria from La fille du regiment, showing off her beautiful, accurate, pitch-perfect, focused top, with extra interpolated high notes thrown in for good measure. I also liked Andrea Nunez’s poised rendition of Susanna’s “Deh vieni,” with an interpolated high note in the last phrase, something I’ve never heard done before, as this aria is very much written in the middle. Nunez did it beautifully however. Elsewhere, I would have liked a bit more chiaroscuro, more of a hushed quality to the delivery. Baritone Samuel Chan had a rather odd choice, Harlequin’s little, 2-minute arioso from Ariadne auf Naxos. I happen to love Strauss and Ariadne, but it’s not a showy piece for competitions. His high baritone bordering on tenor territory was heard to advantage. The private session ended with Myriam Leblanc, singing also Juliette’s Waltz, and very beautifully, with lovely high notes, exemplary runs, altogether a winning performance. If I were to nitpick, I would have liked a more solid trill at the end.
The public session was performed in front of a good-sized, enthusiastic, though not sold-out audience. Schellenberg’s “Largo al factotum” had clarion tone, easy top notes, and vivid acting. He also managed the fast passages with good flexibility. McIntosh offered Rosina’s “Una voce poco fa” with grand flourish and rich tone, albeit the rapid runs were not ideally clean. Andrea Lett sang Pamina’s aria very nicely, although one would have liked a fuller palette of tone colours, particularly the soft high notes, so important to underscore the pathos of Pamina at this point in the opera. As a complete change from the slow and soft “Deh vieni,” Andrea Nunez chose Semele’s aria with its in-your-face, near-impossible coloratura fireworks which she sang well and earning her a huge ovation. Maria Lacey sang a lovely Adina’s aria with a nice top register, only challenged when she had to dip into the lowest part of her range, causing some intonation problems. Samuel Chan sang the ever-popular Conte’s aria from Nozze well, although his baritenor sounding a bit light-weight in this music. The tempo was also very fast, making the whole performance sounding rushed. Once again, the last singer was Myriam Leblanc who offered a sparkling rendition of Lucia’s aria, beautifully sung, with excellent coloratura and accurate pitch. She received arguably the biggest ovation of the evening.
With the judges having retired to deliberate, the audience was treated to a guest, American tenor Russell Thomas. He sang Frederico’s Lament with thrilling tone, complete with the optional high note. This was followed by “Dein ist mein ganzes Herz”, the first time I’ve heard him sing in German. His is really a great tenor, and the COC is lucky to have him. MC Ben Heppner then introduced General Director Alexander Neef to announce the results. First Prize went to mezzo Simone McIntosh; Second Prize to baritone Samuel Chan; and Third Prize to baritone Geoffrey Schellenberg. Audience Prize to soprano Myriam Leblanc. All deserving winners, and my warmest wishes to all the participants!
#LUDWIGVAN
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