The Lakefront Ballroom of the Grosse Pointe War memorial looks out over Lake St. Clair. With all the snow that had fallen that day and the accumulation of ice, it might have made a photo op for Glenn Gould’s “The Idea of North” contrapuntal radio documentary. This was the setting where Pro Musica of Detroit proudly presented An Afternoon of Romantic Operas with members of the Detroit Opera Resident Artists.
The ebullient Cecelia Sharpe — also known as ‘C#’ — was our host for the afternoon.
Each one of the five singers were in top form for this recital, and it would take a jaded listener to find fault with any of them. By virtue of their understanding of the beauty of the things, and the poetry of things, these young artists have a future in classical music.
Under the auspices of the Detroit Opera’s Resident Artist Program, these young singers study almost every aspect of opera while living in Detroit from September to May, training mainly with renowned opera coach and pianist Nathalie Doucet. This intensive program focuses mainly on individualized study and direct performing experience. There are once in a lifetime opportunities to appear in Detroit Opera mainstage productions at the Detroit Opera House which have included a number of productions led by artistic director Yuval Sharon featured in a July 22nd, 2022 article which appeared in the New York Times, Is the Future of Opera Unfolding in Detroit? The Resident Artist Program’s impressive outreach agenda takes in local schools, hospitals and almost every sort of nonprofit organization. Readers and invited to visit their website.
The Sunday February 4 repertoire ran the gamut from Mozart arias to Puccini, including some bel canto gems by Rossini and Donizetti.
Most of the performances were by soloists, with a few duets and one that included three singers, Soave sia il vento from Così fan tutte by Mozart. All five singers joined forces for the final selection, Libiamo ne’ lieti calici from La Traviata by Verdi. These singers always harmonized perfectly with each other — an important skill which cannot be taken for granted.
Canadian tenor River Guard displayed his beautiful voice in La fleur que tu m’avais jetée from Bizet’s Carmen. This aria is also known as Don Jose’s ‘Flower Song’, and Guard was well-nigh flawless. One could not ask for more vitality and daring.
Hailing from Olathe, KS, baritone Cole Bellamy has been blessed with a gigantic, rich voice, defying his rather slim and athletic build. His acting skills, evident with excellent hand gestures in Bella siccome un angelo from Donizetti’s Don Pasquale were nothing short of amazing.
Bass-baritone Cameron Rolling, from Waycross, GA, gave a sensitive performance of Vi ravviso from La Sonnamubula by Bellini which was rich, warm and controlled.
Mezzo Soprano Kendra Faith Beasly, dressed dramatically in black, made the hairs on the back of the neck stand up with her wonderful performance of the ever-popular Mon coeur s’ouvre à ta voix from Saint-Säens’s Samson et Dalila. Clearly a standout, she is able to convey deep feeling with a voice that resembles Jessye Norman’s.
I would love to hear her sing Strauss Lieder.
Soprano Brianna J. Robinson is a native of Ravenna Ohio. She wore a blue cocktail dress and did a well prepared and well thought out performance of Sì, mi chiamano Mimì from Puccini’s La Bohème.
In this very famous aria, one of Maria Callas’s signature specialties, Mimi introduces herself to Rodolfo and discloses that her real name is Lucia – a seamstress who prefers to create things of love and poetry.
Robinson handled this flood of emotion with poise and dignity.
None of this would have been possible without the adept and sensitive artistry of Canadian Nathalie Doucet, the piano accompanist for the event. She played with fluidity and facility that was second to none and never missed a beat when it came to allowing the singers time to breathe. She was impeccable.
The only question I had after the recital was whether the artists sang too loud for the room, which was, let’s say, smaller than the New York Metropolitan Opera House. Ms. Doucet told me that the singers sang full out, and it was all intentional.
Finally, the star of the show that day had to be the audience. They never took their eyes off the performers, and I noticed absolutely no talking during the music and no mobile phones. The intensity of listening and the heightened attention of the public is what makes for success in a live recital.
The music world consists of three aspects, all of which are equally vital – the composer, the performer, and the audience.
Gourmet middle eastern food was offered at the reception, in which all the singers graciously met the patrons and were generous with their time. A quality of humility was evident in all five of them, and I wish them much success in the future.
