As tradition dictates the opening concert of this year’s free concert series in the Richard Bradshaw Amphitheatre was given bt the singers and pianists of the COC’s Ensemble Studio.  It was reasonably well attended but the days when people queued around the block for this concert are long gone, which is symptomatic of the general state of the classical music world post COVID.

First up was Queen Hezumuryango with Sesto’s aria “Svegliatevi nel core” from Handel’s Guilio Cesare.  All the fire required for a revenge aria was there and some interesting dark colours in the lower end of the voice.  I’m not convinced though that it’s a voice I would cast in this role.  The darkness of the voice, appealing as it is in many ways, is likely not what Handel; writing for a soprano, had in mind.

Korin Thomas-Smith; last seen by me in his Norcop prize winner recital, gave a very smootgh and polished version of Malatesta’s aria “Bella siccone un angelo” from Don Pasquale.  I want to see more of him in opera because he’s a very fine Lieder singer.

Alex Hetherington’s “Wie du warst! Wie du bist!” from Der Rosenkavalier put to bed any doubts I had about whether she had the power of voice to make it on the opera stage.  This was certainly loud enough and quite nicely characterised.

There’s never been any doubt about whether Ariane Cossette has the vocal heft for the opera stage and it was quite interesting to hear her sing Glauce’s aria “O amore, vieni a me” from Cherubini’s Medea in the RBA with piano after hearing her with orchestra at Harbourfront just a few days ago.  The RBA is tough on dramatic sopranos and she did sound better with orchestra in a more open space.  That said, this young lady is one to watch and is developing quite nicely.

Charlotte Siegel showed good dramatic chops with a playfuyl version of “Meine Lippen, sie küssen so heiß” from Lehár’s Guiditta.  I’m curious to see how she will do on the main stage as Musetta.

Wesley Harrison produced some genuine coloratura in Almaviva’s serenade “Ecco, ridente in cielo” from Act 1 of Barber of Seville.  Basically it’s the first time I’ve heard him and I’m looking forward to hearing more.

And so to Karoline Podolak.  She is a very unusual first year Ensemble Studio member being pretty much a fully developed and quite experienced singer.  No surprise then that she knocked “Je suis Titania la blonde” from Thomas’ Mignon out of the park.  This is typical Thomas; very French and with crazy leaps and coloratura.  It was sung with a proper sense of French style, panache and pinpoint accuracy.  It’s a classic show off aria.  Basically the text is “I’m a beautiful blonde actress, admire me!”  Fair enough really in the circumstances.

Piano duties were shared between Mattia Senesi and Brian Cho who, as always, switched stylistic gears with apparent ease and provided sympathetic accompaniment throughout.  All in all a pretty good start to the year in the RBA.

Photo credit: Stelth Ng