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Clenny & Company Shine in Bel Canto Gems to Benefit LGBT Youth |
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by Bruce-Michael Gelbert | >> see bio |
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David Clenny & Elizabeth Perryman -
photo by Garry Rissman |
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On November 18, West Side Opera Society Artistic Director David Clenny and an octet of singers gave, as needed, robust or refined performances of favorite bel canto gems, with Clenny at the piano, in a concert billed as "Rare Jewels," at Trinity Lutheran Church of Manhattan, as a benefit for Trinity Place, the church's shelter for homeless LGBT youth.
The trio "Non è amor, nè gelosia," which comes near the end of Handel's "Alcina," and in which Bradamante and Ruggiero confront the eponymous sorceress, was the evening's rousing opening selection, well sung by soprano Elizabeth Honer and mezzo-sopranos Sara Henry and Alisa Popovic, with Honer offering fine high ornaments at the climaxes of the A section and its repeat. Honer returned to this score for a chiaroscuro "Tornami a vagheggiar," Morgana's showpiece, sung in dusky timbre and capped with shining high notes and runs. Clenny had himself sung the role of Oberto in this opera, with the Handel Society of New York, at Carnegie Hall on March 26, 1974.
In "Voi che fausti," Alessandro (Alexander) the Great's florid final scene aria, from Mozart's "Il re pastore," tenor Jovier Sanchez handled the coloratura and wide intervals cleanly, and delivered a graceful "Favorita del re! ... Spirto gentil," from Donizetti's "La Favorita," expressing Fernando's bitter regret on finding out that his love, Leonora, is King Alfonso's mistress.
In "Non temer, d'un basso affetto ... E d'un trono alla speranza," Calbo's tour de force from Rossini's "Maometto Secondo," sung, in its later version, "L'Assedio di Corinto," by Marilyn Horne at La Scala and Shirley Verrett at the Metropolitan Opera, mezzo Henry proved fully in command of its demanding fioriture and range, from solid chest voice to bright upper register. Henry also contributed an ebullient bolero, "Leggero, invisibile," by Arditi.
Sanchez and Henry harmonized exquisitely with soprano Elizabeth Perryman in the elegant Orombello-Agnese-Beatrice trio, "Angiol di pace," from Bellini's "Beatrice di Tenda." Perryman's solo was a resounding, dramatic "Oh, cielo! Dove, son'io! ... Ah! dagli scanni eterei ... Ah, fuggite! Il mio spavento," Mina's scena from Verdi's "Aroldo."
Robert Wilber sang wine's praises with flair, in a full and flexible baritone, in the brindisi, "O vin, dissipe la tristesse," from Thomas' "Hamlet," and Honer, movingly and with dazzling pyrotechnical proficiency, limned poor Ophélie's distracted state in "A vos jeux, mes amis," the mad scene. Joost Van Berge infused Gounod chanson, "O ma belle rebelle!," with restrained passion.
Perryman, Popovic, Sanchez and Douglas Smith gently bid each other and the audience good night with "Schlafe wohl! Und mag Dich reuen," from Flotow's "Martha."
Clenny and the West Side Opera Society will give Rossini's "Le Comte Ory" and Bellini's "Norma" in concert on February 3 and May 3, respectively, at Trinity Lutheran.
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