Philharmonic opens grandly with opera
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Lou Kosma conducts the Vermont Philharmonic. Jim Lowe/Times Argus file |
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By Jim Lowe Times Argus Staff - Published: October 21, 2009
BARRE – The Vermont Philharmonic's annual opera gala has become a hit with audiences because the area has become enamored with opera – and because it was such a good concert.
Vermont's oldest community orchestra, led by Lou Kosma, its music director for more than a decade, opened its 1009-2010 season with "Passions: A Sultry Evening of Italian Opera," Sunday afternoon at the Barre Opera House. (The program had already been presented Saturday at the St. Johnsbury Academy). For the third year now, this concert featured award winners at the Bel Canto Institute of Florence, Italy, this year, two sopranos.
Joann Martinson, a native of North Dakota and currently a graduate student the University of North Carolina at Greensboro, performed expressively with a light but brilliant coloratura voice. She was particularly effective in the "Mad Scene" from Donizetti's "Lucia di Lammermoor," a most challenging task outside of context. Martinson sang with a flowing lyricism, punctuating it successfully with Lucia's tragically off-kilter emotions. Although the young singer's performance lacked the gravity she is likely to achieve, there were moments that were devastatingly heart-wrenching and beautiful.
Elise Jablow, a Hartford, Conn.-native and now a senior at McGill University in Montreal, delivered her coloratura lines with a rich, warm soprano. Unfortunately, the bel canto arias chosen for her by the Institute, were second-rate music, fine in context, but lacking when presented by themselves. Still, despite a few off-pitch notes, she delivered a real palette of colors in "Prendo; il mio rigor" from Donizetti's "L'elisir d'amore," and performed "Quel guard il cavaliere" from the same composer's "Don Pasquale" deftly and dramatically with a beautiful voice.
Both singers benefited from the fact that Kosma is a longtime bass player with the Metropolitan Opera and has a deep knowledge of this music. But, the orchestra sounded wonderful and was truly sensitive to the singers. The intimate coordination with Martinson in the "Mad Scene," particularly the solo flute of Karen Krikorian, was amazingly successful.
This concert also introduced the beginnings of the Vermont Philharmonic Chorus, being created by Lisa Jablow, the orchestra's assistant conductor. Joined by the Johnson State College Choir, the chorus achieved a beautiful lyrical sound and was quite accurate in the "Humming Chorus" from Puccini's "Madame Butterfly." The effect was rougher sounding, but still fairly accurate, in the Prelude to Act III of the same opera.
The Philharmonic got to show itself off in an orchestral version (it was written for chorus and orchestra) of the "Hymn" and "Triumphal March" from "Aida." Augmented by trumpets in both sides of the balcony, the orchestra sounded rich, brilliant and exciting. The strings had a little trouble, but the woodwinds and brass were exceptionally fine, in the difficult opening Overture to "Le Maschere" by Mascagni. Although the performance could have been bit more expansive, the sound was beautiful.
In fact, the Vermont Philharmonic is sounding great these days. More people should be on hand for these most enjoyable concerts.