Gerda Lissner Foundation Hosts Annual Concert & Dinner
A Review by Nino Pantano
One critic wrote "you could tell the quality of a forthcoming performance by the amount
of food spilled by excited fans in the local cafeteria." This was written at the Metropolitan
Opera debut of legendary soprano Magda Olivero age 65 in 1975.
Such was the excitement of the crowd at Zankel Hall in Carnegie Hall in New York City
(but without spilled food) on Sunday, April 30th when the Gerda Lissner Foundation, in
association with the Liederkranz Foundation, presented concert winners of the
International Vocal Competition for 2017.
Stephen De Maio, President of the Gerda Lissner Foundation started the afternoon by
proudly thanking his board members as well as the singers for their prodigious efforts
and hard work and the Liederkranz Foundation for its joyful collaboration.
Famed radio (WQXR) and Channel 13 effervescent personality Midge Woolsey, was the
host and spoke eloquently of her love for opera and the human voice. Her current
development work is for the concert series at St. Thomas Church at 5th Avenue in New
York City and her activities with the Martina Arroyo Foundation. In her spare time, Midge
loves to travel with her husband, economist Dr. Jerry Stolt and is thankful for the love
they have been blessed to share.
Metropolitan mezzo, the radiant Susan Graham was honored and regaled the audience
with some of her adventures here in NYC with a cab driver right out of a 1930's movie à
la Lionel Standler with a quizzical attitude and Brooklyn-type charm. She also told the
young awardees to stand back until the time is ready. Ms. Graham's recent "fairy tale"
marriage to a long time suitor Clay Brakeley made happy headlines in the wedding
section of the New York Times.
The concert began with mezzo soprano Megan Mikailovna Samarin (Second Prize-Gerda
Lissner) singing "Deh! tu, bell' anima" from Bellini's I Capuleti e i Montecchi, generously
showing the audience a clear, precise well controlled mezzo soprano singing a lush
rhapsodic Bellinian line with dream like cadence. It was a bel canto journey of star struck
lovers and two warring families, by Sicily's great composer, the immortal Vincenzo
Next was a spirited rendition of "Vous, qui faites l'endormie" from Gounod's Faust sung by
Joseph Barron (Second Prize-Gerda Lissner) who gave us Gounod's devil, well served and
savory. Barron's captivating laughter had just the right balance between wickedness and
cynicism. Google this aria from the 1953 film Tonight We Sing, where the legendary basso
Ezio Pinza sings it. It will make one happy that this great tradition continues with Joseph
Barron! We need more "dark" voices.
The concert continued with a "bright" voiced Maria Brea's (Second Prize-Gerda Lissner)
sparkling singing of "Chi il bel sogno di Doretta" from Puccini's La Rondine. Ms. Brea
revealed a lovely, lyrical, soaring soprano who under the surface, is scratching the
romantic and vulnerable heart that is behind the facade, the far away dream that
represents the notion of true love. Ms. Brea captured this like a rose within a white glove
and gave it to one and all!
Corrie Stallings (First Prize-Gerda Lissner) captivated us with "Que fais-tu, blanche
tourterelle" from Gounod's Roméo et Juliet. It was sung with sophistication and elan. It
was utterly Gallic in a beguiling way, evoking actress Veronica Lake in a film noir. Ms.
Stallings's dazzling coloratura cadenza ascent trill and descent took one's breath away -
visually and vocally stunning.
Angela Vallone (First Prize-Gerda Lissner) who continues to gather many laurels with her
performances, never fails to enchant. Her sublime singing of "Azaël! Azaël! Pourquoi m'as
tu quittee?" from L'enfant Prodigue by Debussy placed her "out of the commonplace and
into the rare" (Stranger in Paradise Kismet) with a mood inducing, emotion ladeling, soul
searching performance. Ms. Vallone's special soprano gifts have earned her very high
marks and a growing group of admirers. I see her in Puccini roles down the golden paved
highway! Angela's proud parents, Anthony and Maria and her handsome fiancee were
Australian tenor Alisdair Kent (First Prize-Gerda Lissner) once again proved that tapping
"down under" there is vocal gold. He gave us a dazzling and magical performance of "Je
Croix Entendre Encore" from Bizet's early work Le pecheurs de pêrles. Mr. Kent has a
voice of incredible sweetness, subtly seductive with sublime pianissimi and conjured
images of a brilliant bubble floating towards the heavens creating moments of total
immersion in the delicate and beautiful.
The excellent piano accompaniment of Jonathan Kelly (Courtesy of the Metropolitan
Opera) ensured perfection and strong support.
After a brief intermission, part two of the program began with "Weiche, Wotan weiche"
from Das Rheingold by Wagner sung by mezzo soprano Suzanne Hendrix. (Second Prize-
Liederkranz Foundation) Ms. Hendrix is the possessor of a dark rich powerhouse mezzo
with cavernous sound. One thought of Helen Traubel or the equally cherished Ernestine
Schumann-Heink (1861-1936) whose Met farewell at age 71 was as Erda in Das
Rheingold-then off to Hollywood for her screen debut in Here's to Romance with dashing
Met Opera tenor Nino Martini in 1935.
Polish soprano Alexandra Nowakowski (First Prize-Gerda Lissner) sang "Où va la jeune
Hindoue" (The Bell Song) from Delibes's Lakmé. This aria was sung in the past by
coloratura soprano Lily Pons (1898-1976) whose piquant voice and chic elegance
catapulted her to Hollywood fame. Before her appendectomy, Pons exposed her navel in
Lakmé and also won raves. Ms. Nowakowski has a large coloratura sound à la Joan
Sutherland but is capable of some wonderful shading and fine spun pianissimi. Her
formidable trill was golden age in its execution. Polish diva Marcella Sembrich was the
possessor of a phenomenal trill. The Semrich Museum in Bolton Landing on Lake George
is open in summer and is a gem! Mme. Sembrich (1858-1935) would have been very
proud of Alexandra Nowakowski. Mme. Sembrich was the Gilda in Caruso's Met debut in
Rigoletto November 1903.
Emily D'Angelo mezzo soprano (First Prize-Gerda Lissner) sang a sly, coy and saucy
rendition of "Contro un cor che accende amore" from Il barbiere di Seviglia by Rossini.
Her marvelous subtle acting evoked the gamin presence of Judy Garland and Liza
Minnelli. She conquered the machine gun staccato and coloratura passages of this
whirlpool piece and sealed it with an adroit combo of stylistic grace, virtuoso caprice and
warm amber intonation. It was a Rossinian revolution and revelation!
Lawson Anderson bass baritone made an indelible mark in Wagner's "Abendlich strahlt der
Sonne Auge" from Das Rheingold. Anderson is an Atlanta, Georgia native. He had a
striking Teutonic-God like appearance and his richly textured bass had a rare combination
of nobility and power perhaps unheard since the legendary Friedrich Schorr. No wonder
he was given first prize by the esteemed Liederkranz Foundation.
Andre Courville, (the top prize Liederkranz Foundation winner), regaled the audience by
strolling down the aisle singing "Air du Tambour-Major" from Le Caid by Ambroise
Thomas. Courville then climbed on stage with athletic grace and serenaded my wife Judy
(in the first row) in a brief unforgettable moment before resuming his triumphant march
onstage. His flourishes, dazzling coloratura and posturing, vocal power appeal made him
a true disciple of the genre. It was an energizing treat and a vocal firework show! Mr.
Courville who hails from Louisiana will help restore the tradition started with legendary
Met basso Pol Plancon. His top prize Gerda Lissner award was proudly presented by
Barbara Ann Testa, trustee.
Lastly, Vanessa Vasquez (top prize Gerda Lissner Foundation) was presented with the
award by Susan Graham. The familiar "Un bel Di" from Puccini's Madama Butterfly was
her offering. She sang this aria as a personal testament, bringing the audience along the
journey. She followed the musical line perfectly as if you were reading her personal
thoughts. Her whispers flew through the house like pellets of doubt but were cast aside
by triumphant and hopeful ideas. Ms. Vasquez sang on the word as the great past
Butterfly, Licia Albanese would have strongly recommended. By the time she hurled out
her final notes, we were already part of Butterfly's journey. Ms. Vasquez transformed
herself from a Colombian beauty to that petite Japanese girl. She was so in character that
it took a while for she and the audience to regain composure. A stunning performance! A
The pianist for the second half of the program was the indomitable and gifted Arlene
Shrut. Her husband Gary Kendall is her number one fan and his robust basso laughter
gives Mephistopheles some competition!
A this point, the audience strolled two blocks to celebrate these future stars of opera at a
sumptuous dinner at the New York Athletic Club on Central Park South. There were
several hundred guests at this event and what a joy to "meet and greet before we eat" at
this formidable happening. We spotted photographer Don Pollard and reviewer Meche
Kroop. Cavaliere and Perugia's poet Edwardo Jackson, Mario Lanza Society's Bill Ronayne,
opera lecturer Lou Barrella and wife Cathleen, the ever youthful Brooklyn born soubrette
soprano Elaine Malbin, soprano-lecturer Jane Marsh, Gloria Gari from the Giulio Gari
Foundation, Met Opera legend dramatic soprano Elinor Ross, Kennedy Center honoree and
pioneer Martina Arroyo whose foundation paves the way with "Prelude to Performance" at
the Kaye Playhouse at Hunter College, "Mr. Opera" broadcaster vocal coach Ira Siff and
Hans Pieter Herman whose recent cabaret show entitled "The Flying Dutchman" was
delightful and a big hit at the Pangea Club in New York City. We missed Ira Siff's great
character, Madame Vera Galupe-Borszkh from La Gran Scena Opera who surely would
have been among the opera legends of the evening.
It was great to see the gallant Glenn Morton, Artistic Director from Classic Lyric Arts,
Brian Hunter, President of the Musicians Club of New York and of course the industrious
and ever busy Stephen De Maio, President of the Gerda Lissner Foundation with the
ebullient Michael Fornabaio, Vice President and Treasurer, the effervescent Cornelia
(Conny) Beigel, Secretary and Trustee, Karl Michaelis ever dapper and the affable
Barbara Ann Testa, Trustee. Ever chic Joyce Greenberg, who as competition assistant was
the herald calling so many young singers before being judged and Sonja Larsen, also
competition assistant. Diva and ageless Met legend mezzo Rosalind Elias and
unforgettable ever vibrant Met soprano and now coach Diana Soviero. Famed Met mezzo
and Opera Index President Jane Shaulis with husband Executive Director Joseph
Gasperec, Vice Presidents Janet Stovin and composer Philip Hagemann, Treasurer Murray
Rosenthal and Christine and Alfred Palladino from the Columbus Citizens Foundation added
their special vitality to the mix!
It was nice to see Philipp Haberbauer, General Manager from the Liederkranz Foundation,
vocal coach Robert Lombardo, impressaria Diane Curci from Bensonhurst, beacon and
pioneer Maestro Eve Queler from the Opera Orchestra of New York and Maestro Jan
Wnek, vocal coach Arturo Colaneri, proud Brooklynite, opera manager Ken Benson, vocal
coach Tami Laurance with rising young tenor José Heredia, evocative soprano Patricia
Kadvan, from the New York Grand Opera, tenor/actor Anthony Laciura, Geraldine Abbate,
actress and stage director and Dr. Anthony Abbate, opera autograph's Bill Safka, Betty
Cooper Wallerstein glowing patron and community activist, sparkling Don di Grazia, head
of the Met Opera's Patrons Box Office and charming wife Chi hosting her sister Lily Rudel.
We thank Stephen De Maio and the Gerda Lissner Foundation for their noble quest to find
and nurture operatic voices and Joseph Pfeifer of the Liederkranz Foundation and the Max
Kade Foundation, Dr. Lya Friedrich-Pfeifer, President.
The superb dinner was by Openskies Hospitality Catering Service. Judy, myself and our
guests will carry happy memories of this almost surreal exposure to a world of harmony,
love and beauty for years to come! Gerda Lissner's dream continues to come true as
young talented future opera stars take off like dazzling fireworks to grace the future
operatic heavens and ensure us of many more glorious sunrises!
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