Di faci tuttavia splende il Costello!
Our Own Gualtier Maldè reflects on last night's Met Lucia:
The Met has often been accused and rightly so of ignoring young talent and waiting too long to hire up-and-coming new stars while hanging on to declining old favorites well past their sell-by date. Occasionally a promising new talent from the Young Artists Program will blossom quickly and get chances - Dwayne Croft fifteen years ago is an example.
However, it was a surprise when James Levine announced 26 year-old Stephen Costello for one performance of Edgardo in Lucia this season. He had definitely made an impression as Arturo on opening night and I have been told did impressively subbing for Giordani as Edgardo in some early rehearsals. It was with a mix of trepidation and excitement that I attended last night's performance. Making a starring role debut at age 26 in a house the size of the Met is a daunting experience for anyone.
Well, how was he? This much can be said - he immediately got the audience on his side and got the biggest ovation at the end (admittedly many family members, schoolmates and friends were in the audience but not that many). His youth, sweet timbre, precocious poise and emotional involvement communicated to the audience. However, the role of Edgardo, though lyric, is demanding with a wide range of dynamics, vocal coloration and requires both declamation and floated legato. Costello's voice seemed a size too small for the role in a house this large. Though he wasn't inaudible, he definitely seemed lightweight vocally. He seemed boyish and slight next to Annick Massis who is hardly a Lucia in the Sutherland/Callas heroic mold.
The elegant phrasing and poised musicianship were juxtaposed against a voice that could turn shallow and a touch insecure when pressures mounted. Lyrical moments like "Verranno a te" and "Fra poco a me ricovero" were sweet and pleasing. Declamatory moments like the outbursts in the "maledizione" scene and confrontation with Enrico in "Wolf's Crag" found the young man working close to his limits. The fact that he didn't push well beyond those limits and lasted in fairly fresh form to the end of the opera speaks well for his pacing and intelligence. A naturally appealing and graceful stage presence, he gained in dramatic authority as the evening progressed culminating in a moving death scene.
However, at this juncture he might be wise to leave the Edgardo to smaller theaters and concentrate on roles like Ernesto, Nadir and Nemorino that could capitalize on his soaring upper register and boyish charm and let himself grow into roles like the Duke of Mantua, Edgardo, Rodolfo and Alfredo with time.
A salutory example currently singing on the Met roster is Matthew Polenzani who started modestly at the Met seven or eight years ago singing parts like Jacquino and Lindoro and now in his thirties is moving into Romeo, Edgardo and Alfredo internationally with superb notices. It isn't a splashy overnight star trajectory but it worked for him and the Met and when the big star roles came, he was fully formed and ready to do them and himself full justice.
The evening really belonged to the elegant Lucia of French coloratura Annick Massis. Her voice is creamier and softer-textured than that of Natalie Dessay but she has a fuller and more reliable upper extension. A patrician stage figure, her acting was detailed and intelligent but lacked the "in the moment" intensity and spontaneity that Dessay brings to her work. There were pluses both musical and dramatic to Massis' more calculated approach - she never lost vocal poise and beauty and her performance was consistent and beautifully paced.
The loss of some dramatic excitement definitely had musical gains and resulted in a performance that gave overall pleasure. The flute obbligato in the cadenza of the mad scene was reinstated for her as was about 95% of the traditional Mathilde Marchesi cadenza minus the top E flats. Those were abundant elsewhere and held to exciting effect.
Kwiecien shows greater command and suavity in his Enrico, singing more judiciously in the beginning but having lots of power when needed - especially in his climactic top notes. John Relyea has a hint of graininess and dryness in his tone that is worrying in an artist who is still fairly young. I miss the vocal velvet of his earlier days. He was solid but not exciting.
Mr. Costello came through his trial by fire with grace and made some new fans. Now, he needs to pace himself wisely singing lighter roles at the Met and letting his voice and technique mature in the smaller and medium size houses until he is ready to tackle the major lyric repertoire here and internationally. The stuff was definitely there last night, but in embryo. -- Gualtier Maldè
The Met has often been accused and rightly so of ignoring young talent and waiting too long to hire up-and-coming new stars while hanging on to declining old favorites well past their sell-by date. Occasionally a promising new talent from the Young Artists Program will blossom quickly and get chances - Dwayne Croft fifteen years ago is an example.
However, it was a surprise when James Levine announced 26 year-old Stephen Costello for one performance of Edgardo in Lucia this season. He had definitely made an impression as Arturo on opening night and I have been told did impressively subbing for Giordani as Edgardo in some early rehearsals. It was with a mix of trepidation and excitement that I attended last night's performance. Making a starring role debut at age 26 in a house the size of the Met is a daunting experience for anyone.
Well, how was he? This much can be said - he immediately got the audience on his side and got the biggest ovation at the end (admittedly many family members, schoolmates and friends were in the audience but not that many). His youth, sweet timbre, precocious poise and emotional involvement communicated to the audience. However, the role of Edgardo, though lyric, is demanding with a wide range of dynamics, vocal coloration and requires both declamation and floated legato. Costello's voice seemed a size too small for the role in a house this large. Though he wasn't inaudible, he definitely seemed lightweight vocally. He seemed boyish and slight next to Annick Massis who is hardly a Lucia in the Sutherland/Callas heroic mold.
The elegant phrasing and poised musicianship were juxtaposed against a voice that could turn shallow and a touch insecure when pressures mounted. Lyrical moments like "Verranno a te" and "Fra poco a me ricovero" were sweet and pleasing. Declamatory moments like the outbursts in the "maledizione" scene and confrontation with Enrico in "Wolf's Crag" found the young man working close to his limits. The fact that he didn't push well beyond those limits and lasted in fairly fresh form to the end of the opera speaks well for his pacing and intelligence. A naturally appealing and graceful stage presence, he gained in dramatic authority as the evening progressed culminating in a moving death scene.
However, at this juncture he might be wise to leave the Edgardo to smaller theaters and concentrate on roles like Ernesto, Nadir and Nemorino that could capitalize on his soaring upper register and boyish charm and let himself grow into roles like the Duke of Mantua, Edgardo, Rodolfo and Alfredo with time.
A salutory example currently singing on the Met roster is Matthew Polenzani who started modestly at the Met seven or eight years ago singing parts like Jacquino and Lindoro and now in his thirties is moving into Romeo, Edgardo and Alfredo internationally with superb notices. It isn't a splashy overnight star trajectory but it worked for him and the Met and when the big star roles came, he was fully formed and ready to do them and himself full justice.
The evening really belonged to the elegant Lucia of French coloratura Annick Massis. Her voice is creamier and softer-textured than that of Natalie Dessay but she has a fuller and more reliable upper extension. A patrician stage figure, her acting was detailed and intelligent but lacked the "in the moment" intensity and spontaneity that Dessay brings to her work. There were pluses both musical and dramatic to Massis' more calculated approach - she never lost vocal poise and beauty and her performance was consistent and beautifully paced.
The loss of some dramatic excitement definitely had musical gains and resulted in a performance that gave overall pleasure. The flute obbligato in the cadenza of the mad scene was reinstated for her as was about 95% of the traditional Mathilde Marchesi cadenza minus the top E flats. Those were abundant elsewhere and held to exciting effect.
Kwiecien shows greater command and suavity in his Enrico, singing more judiciously in the beginning but having lots of power when needed - especially in his climactic top notes. John Relyea has a hint of graininess and dryness in his tone that is worrying in an artist who is still fairly young. I miss the vocal velvet of his earlier days. He was solid but not exciting.
Mr. Costello came through his trial by fire with grace and made some new fans. Now, he needs to pace himself wisely singing lighter roles at the Met and letting his voice and technique mature in the smaller and medium size houses until he is ready to tackle the major lyric repertoire here and internationally. The stuff was definitely there last night, but in embryo. -- Gualtier Maldè
Labels: broadcast, gualtier malde, met, our own, stephen costello
POSTED at
8:21 AM
67 Comments:
I've been lurking here for a long time but finally feel I must chime in regarding what I saw at the Met last night. I almost always agree with what most of you have to say but I just don't understand this Costello thing and ask for your guidance. To me he sounded strained and out of his league. I found myself longing for Giordani. It felt like he should be singing something like Don Ottavio somewhere like Forth Worth. But Edgardo at the Met? I don't pretend to have a set of brilliant ears so it must be something I'm not understanding. The audience seemed to be thrilled so congratulations (truly) are in order for this young man who, I'm sure, has much to look forward to at the Met.
Well, I was underwhelmed. Frankly I expected to be; let's chalk it up to experience and let him settle back into more suitable roles in more suitable venues. I guess I'm back in the Valenti camp....until he disappoints me!
I agree that Costello is not yet ready for the "Prime Time Players". I was underwhelmed by his voice. I do hope he has good teachers and advisors who will allow him to develop in a positive way. A tenor is a terrible thing to waste.
Annik Massis was WONDERFUL!!!!!
Costello gave an admirable, professional debut, especially when you consider his age, experience with the role, the surroundings...its seems like a reliable and pleasing voice, with quick vibrato (my friend thought it more a bleat) and a good piano. He's a little weak on dramatic declaimation (son tue cifre, rispondi! wasn't forceful enough) and releasing notes seems to be a bit of a problem. He seemed nervous as shit in the beginning and acts rather wooden; I can't help but think something abiut his stance looks "off balance" to me. In the final act the recit had some raw moments but after "Fra poco" came off well (the cadenza played rather safe), he seemed to be more at ease in the final scene, where the singing really blossomed.
The real triumph however was the magical singing of Annick Massis; what a beautifully, well constructed voice!! Such ease and clarity in the coloratura, well articulated and inflected text, imaginitive nuance and legato! She didn't go nuts like Dessay (no Klytemnestra scream or convulsions, and she and restored the traditional flute cadenza) but she really didn't have to, it was so much better sung!
It seems to me that Costello should stick to Arturo. He was terribly overparted as Edgardo.
yes, and why now does dwayne croft no longer seem to be considered operatic royalty. now he seems to be relegated to a B-list status. why?
is it his age? i just heard him sing and his vocal resources seems as fresh as i can remember? is it that he's not a "looker"? is it because he's not a true verdi baritone?
I appreciate the honesty of posters in regard to this year's male Bobby Soxer sensation; Polenzani would indeed be a good model.
Can ANYONE hear a Roberto Devereux in Stephen Costello's current resources after last night?
I listened on Sirius (I readily acknowledge the vagaries created by the miking)and agree that Massis was superb. It was refreshing to hear the coloratura handled with precision and grace, with fluid, but not smudged, runs. She has a clarion top and brilliant attack on exposed high notes - no groping around for the pitch. And no ragged scream at the end. It was a pity that some of the optional acuti were suppressed. While it's hard to assess the size of a voice that is as closely miked as these broadcasts are, she seemed to vanish at times in the ensembles, but I have no idea what the impression in the house was. Dramatically, she was certainly far more subdued that Dessay, but her vocal performance was more elegant and polished. I'll take that any day.
I thought Costello was an endearing Edgardo. The timbre of his voice is pleasing, the sound is bright, but not golden. He sounded tentative in Act I (and I know that in the house, a weak beginning can deafen me to later strengths). But, as the evening progressed, he seemed to become more comfortable in the role. But he, too, simply vanished in the sextet, as I heard it. The microphone could have been his best friend outside of the ensembles. His is not a voice with the cut needed to pierce heavy orchestration and big choruses. And the Met chorus sounded huge last night over the air. The final scene was well, if not powerfully, sung. I didn't hear a lot of strain, but more covering - not the free, open flow of sound that one expects from a "big lyric". To his credit, he was singing and not yelling, IMO. He wisely avoided overblown death-scene histrionics and, in general, delivered a sensitive, at times nuanced performance. This is not a tenor for the ages, but he is a tenor of some promise if he is not pushed beyond his vocal means into even heavier roles.
orestes
Nerva: So you're saying Costello should "follow the Polenzani model" and basically just cool his heels until he's almost 40? In that case, please check back in here in the year 2021.
Question for those of you who saw/heard Mr. Costello's Edgardo. He will be singing Romeo at Baltimore's Lyric Theatre next Spring. How do you think he will fare as Romeo?
The Lyric is a physically large theatre, although the seating capacity is nowhere near the Met's. Romeo is not a lightweight role, but it's not Radames or Don Alvaro.
Thanks, Jerry
Dear Cieca, more than Nerva, your very own interpid Gualtier Malde is saying pretty much the same thing. I guess we all should just check back in 2021.
Following up on what I just wrote re "the Polenzani model." I don't want this to sound like a criticism of Polenzani, who has managed his career very intelligently. The silliness is in supposing that Polenzani's path is necessarily the a model for someone beside himself.
For example, though I don't know either Polenzani or Costello well, it may be that Polenzani welcomed the Met contracts offered him at least in part because they kept him in New York close to his family for a long stretch of months over a period of several year -- this in contrast to the constant round of travel most young singers are faced with. And so, unless you can show that Costello and Polenzani have parallel family situations, that aspect of the "model" could not apply.
Let's face it, Polenzani has been with the Met for 10 seasons now and he has sung leads for only a fraction of that time. Basically he spent from about 30-35, prime years in any singer's career, as a house singer.
Again, Polenzani's path is one that seems to have worked very well for this particular artist. But I question the prescription of this "model" to a different individual with (invariably) a different set of priorities.
Definitely, Costello shouldn't wait until he is 40 to start singing these big lyric roles - I mentioned that Polenzani started at the Met about 8 years ago probably around the age of 30. So six to eights years from now by the time that Costello is 32 or 33 he will be ready for things like Edgardo.
But for right now, Ernesto and Nemorino and perhaps with some technical polishing singing Elvino in "La Sonnambula" covering and following Florez. Given his high placement, a part like Arturo in "I Puritani" is a possibility in the near future too - but not at the Met.
The problem with very young, promising, attractive, exciting singers is that we want the whole career right now, all at once, immediate gratification when it would be best for all concerned to let the artist season a bit in places like Amsterdam, Santa Fe, Aix en Provence, Glyndebourne, Glimmerglass Festival, Zurich - high international standards, great prestige but also lots of rehearsal time and smaller houses. Then when they are all grown up - hit the Met in their biggest and best roles. The other tack is to come up through the ranks as Polenzani did.
Polenzani has done better in Chicago than at the Met, no question, and as La C points out he may have taken secondary roles at the Met just to be in New York and close to his family.
As we all know the Met doesn't always use singers wisely or well. Jonas Kaufmann is doing two Alfredos in New York this year. Surely the Met could do better than this.
Purportedly, Kaufmann will singing Maurizio (not one of opera's more exciting roles) in 08-09 and maybe Siegmund in spring 2011. Kaufmann is now 38 years old and probably at his peak. He should be singing Don Jose and his other signature roles at the Met now.
Costello had a sweet sound (as heard on Sirius), but I would join in the crowd warning him to slow down and take it easy. If I were advising him, I would tell him to sing Tamino for a few seasons and then slowly build into the bigger "heavier" stuff. (Just because Levine wants you to do something doesn't mean you should do it.)
I was much more excited by Massis. If I had a choice of seeing Dessay or Massis as Lucia, I would pick Massis.
I would also like to ask Levine why every note of Wagner must be performed, but "Lucia" can still be butchered. If I had the choice of an uncut Levine "Tristan" and an uncut Bonynge "Lucia," I would pick the "Lucia."
I'm going to have to agree to disagree with at last a part of what you're saying, GM. Those light, high-lying parts like Ernesto, Elvino and (especially) Arturo in Puritiani can be very, very dangerous for a young voice because of the temptation to sing off the voice. Once that habit is ingrained through constant practice and performance, it's quite difficult to return to the fuller natural vocal position -- particulary when he's trying to rework the placement in the middle of a busy run of performances. (This "off the voice" habit is I think what happened to Paul Groves, a big beefy guy whose voice just seems to get smaller and smaller from year to year.)
No one disagrees that a young singer should choose his repertoire carefully. My quibble is with the assumption that "lighter role always equals healthier role."
I might just also say in passing that, so far as I know, Costello's management did not receive any phone calls that went, "Here's the deal: Stephen can have his choice of a single Edgardo at the Met or a new production of Pecheurs de Perles at Santa Fe. Which will it be?" In other words, another part of a real-life career is that if you sit around and wait for the perfect offer, then your "career" will consist of sitting and waiting.
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JF - From what I've heard this season, I'd put Romeo in a class with Edgardo in terms of the stamina required, but I think it does lie a little higher - open to correction on that. That probably works to Costello's advantage, but I'd say, like Edgardo, Romeo is at the outer limit for him in a big theater. I just hope Baltimore will give him the extra intermission. The current Met production is a real test.
Nerva - Devereux, now? Certainly not. The uncut role is way too demanding. But how about Percy in ANNA BOLENA? Not that we're likely to hear either at the Met anytime soon. What IS the deal on the three-queens project?
O.
In a previous post, (October 1, 2007), writing about the anatomy and physiology of the vocal cords, and the "mechanics" of singing, I was vilified for copying from "Voice for Dummies." I had no idea that a publication of that topic existed. Being a physician, I know a little bit more about the larynx or voice box than the average joe. The vocal cords are controlled by muscles, and like all the other muscles of the body, they can gratually be built over time and become stronger, with careful and well designed and controlled exersises. The muscles themselves and their blood suply will grow, and eventually their sustainig power will icrease. A bodybuilder will never ask a new trainee to lift a two-hundred-pound wheight. To ask tenor in his 20s, like the talented Costello, to sing Edgardo in a 4000-seat house is a disservice if not exploitation. I wish all the vocal coaches and teachers study and understand the inricacies and the basic anatomy and physiology of the vocal cords. If they do, they willl help singers to sing the right role at the right time. So many good voices and careers have been ruined and shortened, e.g. Elena Souliotis- the first soprano to be called the "New" Callas!" Souliotis was thrown into the wolves when 20something and after eight years, there was nothing left but a carcass.
Costello had a good act 3, where he came alive. Though he was a bit too careful vocally and certainly took his time before the money note in Fra poco, he really managed to move me.
At the end however, people were somewhat disappointed, it's not a particularly beautiful or powerful voice. Tight and strangled at points. Like having Florez singing Edgardo without any of the beauty. Costello wasn't successful in act 2, he was gasping for air in Vi disperda and blew Edgardo's most crucial moment in the act. Act 1 was tentative. Breathing correctly seems to be his problem, he didn't sing the entire line of Verrano a te like Massis, without breathing.
He's young and his technique will improve. And so must his Italian diction, which is poor. I heard David Lomeli in California back in June, he'd be a better fit for the role if we must stick to insanely young tenors, Lomeli is even younger.
About Kwiecien: he never disappoints. Powerful voice, elegant portamento, intense acting. Massis was less impressive than the first 2 performances, still very efficient. Relyea sounded tired, and he's singing tonight again? Mad.
I haven´t seen Costello´s Edgardo - only his Arturo and from what I heard I did have the impression that he should stay with lighter lyric roles for a while. That said, this Edgardo was a good career move in the sense that everybody is speaking about him right now. His choice of roles won´t necessarily have to do with light roles - from what I saw, I don´t think he would be really unforgettable as, let´s say, Belmonte or Ferrando. On the other hand, maybe he could be a good Max - I don´t know. In any case, he should choose roles that highlight his qualities, whatever this role is. It is better to be a great Romeo than a subpar Riccardo. Now only Costello would be able to decide which roles show his qualities to advantage.
I might just also say in passing that, so far as I know, Costello's management did not receive any phone calls that went, "Here's the deal: Stephen can have his choice of a single Edgardo at the Met or a new production of Pecheurs de Perles at Santa Fe. Which will it be?" In other words, another part of a real-life career is that if you sit around and wait for the perfect offer, then your "career" will consist of sitting and waiting.
La Cieca will agree, in the spirit of "real life", that it's not this black-and-white either. If there is real talent, there should be NO URGENCY to reach the pinnacle. Between the offer of a single Met Edgardo and the new production of Pecheurs de Perles, there must be other invitations-- less prominent roles in major houses, starring roles in regional houses. If his management is not getting such calls, I'm willing to bet that they'll come soon. The point is that he's, what, 26 or 27, so WHAT'S THE RUSH. Experience elsewhere can only improve a disciplined artist with talent-- it's not like the voice is suddenly going to disappear in 5 years, so let's better push him to sing heavier at the Met, quick. On the other hand, in the paradox of real life, pushing him to sing heavier roles at the Met may, indeed, shorten his career to 5 years. This is the choice.
M: just to clarify: the actual choice presented here was either to accept the single performance Edgardo or to turn it down. I fail to see what the advantage would be of turning down what amounts to a bonus from the Met for making such a positive impression during the rehearsals and run of Lucia.
This was not an offer to do a run of performances or a long-term contract; it was essentially a guest appearance on a single night and an opportunity to demonstrate what the singer is capable of doing with a big role in a big theater at this moment in time.
So, again, what's the enormous up side of saying "no" to this specific offer?
"So, again, what's the enormous up side of saying "no" to this specific offer?"
No up side of saying "no" to this specific "one-night stand" offer, as far as Stephen Costello and management are concerned. He certainly got a nice big platform to display his talent out of the deal. Arguably the most prominent operatic stage. BUT the temptation is to continue on this route, and knowing Gelb's mean lean marketing machine and Costello's unblemished boyishness, who knows what the Met might do in the next couple of years. Also I'm guessing many people's (over)reaction to this thing is due to the apparent mismatch between the Met's great prominence and the quality of the lead, even if it's only one night.
Completely agree with what Gualtier said so well. I preferred Mme Massis to Mme Dessay as a Donizetti soprano, and Mr Kwiecien has calmed down to luscious effect. I also found Mr. Costello an appealing youngster overparted but intelligent in handling the situation. One must admire his pluck; now he must learn to defend himself against temptation.
-- Hans Lick
Reminding you again, folks: Anonymous comments get deleted.
Cieca-- you missed deleting one other anonymous post towards the top of the comments section, from an "Orestes". Granted, it's a generally positive take on Costello ... probably needs some clarification: is the rule "no anonymous posts" or "no hateful anonymous posts"?
M: The post you refer to is signed Orestes, so it's not quite anonymous. Note, too, that Hans Lick signed an "Anonymous" post, so that one remains as well.
La Cieca does make exceptions in the case of a long anonymous posting that is referenced in later postings, especially if that first posting includes interesting factual material. But a couple of lines of opinion, with no name anywhere to back it up, is essentially valueless.
Farina scheduled for AIDA tomorrow night....I have tix...prayers gratefully accepted
Note on Reylea -
It is extremely worrisome that such a young singer is exhibiting "Scotto syndrome", i.e., singing with wobble out of the side of his mouth - something he is doing constantly these days. It's a symptom of overwork on one side of his neck/throat, and I hope someone on the Met coaching staff is trying to warn him about it - he needs some vocal rehab.
I just wanted to post a thank you to La Cieca for allowing a lively enthralling dicussion to ensue even though she may disagree with some of it.
Re: Michael's post, I don't think anyone could accuse La Cieca of being mezzo cieco.
La Cieca is Hot! All Hail La Cieca!
Really, so glad to have this written duel to read throughout my long, boring day at the office.
Grazie! :-)
He should have said "no".
I went specifically to hear him. After viewing all of his YouTube videos, last night was very disappointing.
He had trouble with virtually every high note and his voice was quite small in the house. A few pretty moments but even those not extended the way the ear wanted to hear the phrase.
I have nothing new to add that others haven't said already, but I still want to praise the divine Massis. I have enjoyed her singing for a LONG time, and it is only appropriate that she get some of the "grand attention" that can be found in NYC! I am an admirer of Dessay, but Massis simply outsang her compatriot in just about every way. PLEASE let Gelb sign her up for more Dessay-like assignments in coming seasons: Amina and Marie would both be perfect.
I also side with those who think Costello should wait a while before accepting similar assignments at the MET (yes, until 2021 if necessary). Even over Sirius, the voice sounded small and at times stretched. Nevertheless, I thought he did an excellent job and should be praised warmly. Regarding Polenzani, I'm not quite sure he ever went through a period as "house singer" at the MET - but yes, it was close to that for a couple years. He suffered EXTREME tragedy in his family, so that accounts for a period of his NY centricity, but his career has steadily grown (in a healthy way). This may not be "right" for everyone, but it would certainly be nice to see more young talents err toward the Polenzani route rather than the Villazon route.
evenhanded, I am going to have to disagree with you re: Mlle. Massis. I find the voice colorless, shallow and without any real core. She reminds me of those fluttery sopranos Beverly Sills used to favor so at NYCO during her regime there. The top notes are impressive, certainly, but more for sheer length than for vibrancy.
Her stage manner I find arch to the point of seeming almost ironic. The acting choices in the mad scene especially seemed very externalized, like a sort of demonstration of what a 19th century was like onstage.
The combination of ordinary voice and over-sophisticated manner just strikes me wrong for this opera. She would no doubt be delicious in Lustige Witwe or Orphee aux Enfers, or for that matter Mamelles de Tiresias. But for Lucia, no, not my taste at all.
Well Cieca - I guess it's another case of "different ears hear different things". I was not in the house, so I cannot comment on Massis' demeanor on stage.
I think the core in the voice is perfectly evident - though it is a "French" sort of sound for sure. I don't hear "fluttery" at all. On the contrary, I hear a voice that is evenly produced from top to bottom (though age has begun to show in her transitions between registers - particularly on the low end - but to little detriment thus far, IMO). Regarding her top notes, it is exactly their inherent "vibrancy" that makes them so thrilling. I think the audience would have applauded equally lustily had Massis not held them so long - it was the beauty of sound that impressed, IMO. Obviously you hear different things. Still, I imagine Massis is probably quite a lot closer to the original Lucia (amplitude-wise) than many a larger voice (Sutherland or Callas, for example - impressive as they certainly were). The same might be said about Costello vs. Giordani.
Regarding your rep suggestions, yes, the Offenbach has been a great success for her, and I think the Poulenc would be interesting as well. La Veuve Joyeuse might be a bit of a stretch - but archness is very welcome in that context, so maybe it would work if she's as arch as you say. I still think Amina and Marie would be excellent choices for future MET Massis appearances.
And last, I will say it is QUITE nice to have our hostess join in the conversations.
Well, I can't say that I said it here first because I didn't! It was an anonymous poster! But to say the least, I'm pleased to know that so many people agree with what some of us had already known would be the case with last nights Lucia concerning our young Hunkentenor. All these reactions are certainly of no surprise.
I feel no need to repeat myself or what others have written here. I shall go on record to congratulate Mr. Costello on having had, at least we hope in the greater scheme of things, a success and for having had the COURAGE to take on such an offer. It was a big risk and he certainly made it through the evening and showed us what he's made of!
Let us hope that his future decisions for repertoire and performance venues will be wisely selected as it is certainly a voice we would like to hear succeed and endure a long, healthy career. There is simply NO REASON why a bright, young talent like his should have a career anything other than long and healthy...although there are always things that seem to get in the way of promising talents: bad advice, bad decisions and temptations!!
Monsieur Maldé, I like what you say very much. Spot on.
Hvorostovsky was asked by Karajan to sing Rigoletto at 29- I don't know whether it was one or several runs. He said no; and he never regretted. Ambition, flattery or being used can be in the way of good judgment. If a young singer fails early, at a big house, recovery could be problematic. I'm glad it worked, to a certain degree, for Castello.
Hah! Karajan asked Cheryl Studer (then in her 20s) to sing the Fidelio Leonore. She obliged by auditioning for him with 'Abscheulicher'. He rejected her for being "too dramatic".
Thanks for the well-written review, GM.
Constantine: Maybe you should check your math. Hvorostovsky was born in 1962 and von Karajan died in 1989. Did the maestro continue hearing auditions from beyond the grave?
Speaking of which, if La Cieca were running the Met (and don't be so sure she's not!) she would totally scrap the current Rigoletto production for a new staging starring Hvorostovsky and directed by Luc Bondy -- with perhaps Kazushi Ono to conduct.
How Mr. Costello does and did last night is unfortunately beyond the possibility of unbiased talk.
Everyone knows how well read La Cieca is, our hostess with the moistness, and I fear agents intrude here to villify a real hope for the future which Mr. Costello showed himself to be the other evening. Otherwise the whining is a bit premature.
A tenor has to have guts to sing./Costello preferred not to shout with his colleagues.
The baritone was exceptional, but where is the concern for his bellowing ANY high notes. Wide open spread bellow. With that sound he should be more careful. It is a great voice/ very important voice seeming to be just happy to be loud right now.
Costello, against the shouting of everyone else, was truly bel canto. Not so the soprano. If Massis scooped or whelped her way sliding into one more high note as she did last night I would have had to call the aspca. No note was taken dead on.
Young Corelli had a beat in the voice and became large during his career. Patience not a cross hairs is the order of the day.
Hearing someone on a radio so badly miked is moot in a discussion about an opera singer. So, Cieca wins! She was there. You have to hear these things live. I say Costello is a keeper.
Giancarlo from Bari
Giancarlo-- Cieca wasn't there. So does she, uhm, lose?
Longing for Giordani? I cannot even imagine. He bellows, he creaks, every note is squeezed out of his throat like he has something stuck in there. I'll take the pleasing tones -- even if they are light -- of Stephen Costello any day of the week.
How has Polenzani done better in Chicago? He sang there 12 years ago and wasn't invited back again until last season's Romeo -- during that same time he sang Lindoro, Almaviva, David, Jacquino, and had several broadcasts at the MET and he "did better in Chicago?"
Not if he wanted to eat.
M. then her twin was there in all her glory....she wins.
Sorry. Maybe another time.
Giancarlo di Torino
La Cieca,
Well, you're right as usual; and it must have been when Hvorostovsky was much younger.
It has been enjoyable to read the comments. Points of view can be amazingly different.
My own point of view, and of hearing, was at the rear of the orchestra. I heard quite a different thing from many of you.
We are told above: "The problem with very young, promising, attractive, exciting singers is that we want the whole career right now ..." That is precisely what bothers me about a lot of the criticism of Costello, but not the way the poster meant it. Why, oh why, should a young singer like Costello sound like anything other than a young singer? When he has, in my opinion, an exceedingly well-produced voice, very musically employed, why should he try to oblige those who feel he should sound like some more mature ideal they have in their heads? Some of the people who are clutching their pearls over his youth and the danger of the repertory they thrill to imagine he may ruin his voice with are the same people who lament his not sounding like a forty-five-year-old. If he doesn't follow your repertorial advice but continues to sing in the way he has been taught to sing, he may disappont the doomsayers. (And it is presumptuous in the extreme for us to project excessively from one starry evening the gods have granted him. I noted the leading Philadelphia music critic in the audience. For a son of Philadelphia that alone must have been a proud fact for Costello and those dear to him. Who know what all went into the decision that for some of us yielded an evening of great pleasure?)
And this business about a major house daring to take our money and present us with a young singer. Sweeties, I've been going to the Met since 1971, and I can't tell you how much more I'd have gladly paid on many a night to have heard that fresh voice and solid musicianship, with its poised bearing and comely shape on that stage.
"M."'s complacent post about how, if Mr. C. just sits still, his talent will be recognized in time, whether he jumps at once-in-a-lifetime chances now or not. "M." must not know many New York opera singers. There are plenty of singers of great accomplishment who never get the chance to demonstrate it fully. Much is a matter of luck. Some of it comes from the kind of bad advice "M." furnishes. Many a major star will tell you about colleagues from their early days who were better than a lot of famous successes. But they were sick the day of an audition, or their mother died right before their début recital, or they fucked the wrong conductor -- or, often as not, they turned down the role that could have made the difference.
It's easy for us to pontificate, but these folks' whole careers ride on things that most of us don't even dream of.
For what it's worth -- and it's only worth what one man's opinion is worth -- I came to admire Mlle. Massis more and more as the evening went on. So much so that I feel I've never heard a mad scene sung live with such consistency, beautiful overall shape, and the whole festooned with exquisite small beauties.
Someone told us above that "people" were disappointed by Costello by the end. The audience as a whole spoke "una voce" in other terms. Levine demonstratively congratulated him repeatedly. All this simply means that some liked his performance. And I agree with them.
One more thing about having heard three and a half decades of these affairs at the Met: Never, never would I have dreamed in what many now speak of as happier times at the Met that we would hear the public give repeated ovations to an orchestra and conductor of Lucia. (Molinar-Pradelli! That thou wert with us at this hour to witness such!) I'm told this has been happening throughout the run. It makes me very happy to hear the piece played with a care it never used to receive in these parts. As I said to a colleague at intermission: There's almost something avant garde about it.
Molinari-Pradelli.
Oops. Always have trouble with those feminine endings.
For what it's worth, there WERE other offers. Costello was locked in to sing Christian in the new DiChiera CYRANO DE BERGERAC (which I think he will still sing in Philadelphia) at Michigan Opera Theater during this time period. This was when the offer came in for Arturo (and maybe the Edgardo cover, but NOT the sing. The sing was officially decided much, much later...when Giordani was late for rehearsals and after the staff had heard Costello singing many of them).
A clarification on my above comment...
Costello's manager then pulled him (as many would) from the Detroit gig (in the lone tenor role, by the way) to make his debut as Arturo. I know many who would have done the same.
Anonymous (who may be deleted): Christian is not the "lone tenor role" in Cyrano. How about the title role? I didn't see it at the Met, but Domingus was certainly not singing Christian.
Is there a more boring singer on the MET roster than John Reylea? He sings everything the same and in the same boring, labored way. Why, oh, why? Especially when there is such an exciting bass as Kyle Ketelsen around whom the MET doesn't seem inclined to hire -- and he's a better actor, too!
I was lucky enough to see Giordani's most recent Saturday performance and Costello's Thursday night performance from the same area of the dress circle. I am an opera fan only; not an expert, as you will see. While I appreciated the ease with which Giordani projected his voice to my seat, I found the frequent cracking and scratchiness to be disturbing. I also found myself wondering if he was literally dying at the end of Act III.
As for Costello, I saw Thursday night as a "make" or "make later" opportunity. Having seen him in Ocean City and on YouTube, I expected to be underwhelmed by his power, and I was. I thought that his nervousness in the first two acts was apparent in his near cracks and need to take extra breaths here and there. I suspect that being nervous must reak havoc with one's ability to concentrate, and I know that concentration is one of the hardest parts of singing opera. I feared the worst for Act III.
My fears were unfounded. I thought Costello was completely in control of himself and enjoyed his secure singing. He sang with some emotion, fine technique, and ownership of the role. I personally find his voice to be beautiful, especially in the mid range. His bows at the end were met with thunderous applause, but I suspect that every Costello fan in the area was there.
After the show, I waited, like a goof, at the stage exit to congratulate him. While he and his talented fiance, Ailyn Perez, were mingling with fans, one of his entourage was ordering a bacon cheeseburger for him on the phone. I felt like suggesting two or three, with french fries, and a membership at the gym. I think that all that separates Costello from an important career is time, experience, increased physical strength, and about 75 pounds.
He already has the voice.
Hey, DirkVA, you're giving as much "advice" as I am by condoning the kind of career path La Cieca et al. imagines Costello should have. We are all free to chime in regarding this public performance, as we are free to buy or not buy tickets.
OF COURSE luck plays into everything. You only have to breathe one day in this world to know this. This is absolute nonesense, to say that, oh, such a singer is much better than that diva but she's so unlucky her mother died before an audition. This is BALONEY. Of course there are such cases, but in a competitive market, cream usually rises to the top. THERE ARE EXCEPTIONS (read: Netrebko), but on the whole, Nobel laureates are among the cream of their fields, as much as the singers and artists of international stature. They will be the first to acknowledge the role of luck in the way their lives have unfolded, but it is not only luck that propelled them to greater heights; the same way that the mother's death is not the only thing that prevented this young would-be diva from becoming the next Maria Callas (or Maria Mescheriakova).
The point is, did the Met-paying audience get what was "advertised", which could be (a) a fine performance from world-class singers; (b) a memorable role debut of a hot new tenor; or (c) an evening to obliterate your 35+ years of going to the Met. Whatever the expectations were, it is my estimation that a great majority walked away disappointed. The comments section here is one proof.
Of course Costello can't be faulted for taking this rare offer-- even the big names in the Met roster had to make so many role debuts elsewhere before taking the show to New York. Here we are, the grandest operatic stage in the business. Expectations are what they are, at this level. Are we to be happy if the Met starts to push to the footlights other young singers of great promise? I don't think we will agree to this, just as we don't agree to being given has-been's like Farina (who'll be singing in my Aida next week). We expect more. Is this wrong?
Ping, you are incorrect. Did you even read my post. It is the DiChiera CYRANO (which I noted), a newly composed work with libretto by Bernard Uzan. And Christian is the single leading tenor role. Cyrano is a baritone and Roxanne is a soprano.
M,
As I'm reading you blog, I'm listening to April 15, 2006 Met's live recording of Don Paquale with Netrebko. You implied that Netrebko'a ascedance to superstardom is a fluke. What makes opera superstars is not a perfect voice or singing, or music critics, purists and agressive PR- was ever a perfect singer?- but sold out perfomances, visceral response from audiences and CD and DVD sales. Along these lines Netrebko has no peers. By the way, on this broadcast she sounds fantastic and so does Florez.
OK, anonymouse, I misread your post. No need to be an asswipe about it.
Speaking of young tenors who have short stays at the Met, what in the world happened to Gregory Turay? He was being groomed by Levine for big things and now isn't even on th roster. He was even savaged in Opera News a few years ago in an article hailing Polenzani as a new Wunderlich- yeah, right. Would love to hear reactions on Greg who at least used to have a gorgeous lyric voice.
One who worships at the altar of Jussi Bjorling
Let me lend a word to all you "armchair tenors/opera singers" and the jaded minions.
I was in attendance at the performance of Lucia on Thursday night. I too wondered how this young tenor would navigate a role such as Edgardo particularly at the Metropolitan Opera. I was incredibly touched by his emotional, musical and vocally beautiful performance. You people should get your ipods out of your ears or turn down the volume on your record players because your "stereo" mentality is getting in the way of "listening" to a beautiful singer with an excellent technique. The voice is not huge, thank the Lord, he's 26!!! If it were huge now I'd be worried about his future vocal health. Oh yes, he's really 26, not like some singer's who subtract a few from their actual age.
Was the performance perfect, no. I don't want a robot up there. I will personally be looking forward to hearing Stephen Costello in the future at whatever venue and watching him mature vocally and artistically.
Caterina
Gregory Turay isn't fit to wipe Matthew Polenzani's boots.
Small voice, no stage presence, 4th rate.
That's what happened to him.
Polenzani certainly could be a new Wunderlich. Don't know what is so strange about that. Beautiful voice, distinct in any language, good stage presence.
Review of Thursday night in the Philadelphia Inquirer:
http://tinyurl.com/yqcfyz
JoeBoo: Please allow me to respectfully disagree with you.
I purchased tickets for the Oct. 25 Lucia specifically to hear Stephen Costello. I had heard him as Arturo and I was so impressed with his technique on the YouTube videos that I went expecting to be thrilled. I could not have been more disappointed.
I realize that he has many friends and supporters that will tell him (as you do) that he had a great success but I hope some bits of realistic assessment get to him eventually.
After missing every high-note in Acts I & II, I would not have been surprised to hear an announcement that he was cancelling.
Yes, Act III was better, but even there, he continued to prematurely chop-off the ends of phrases and the high-notes were still not successful.
His voice sounded small in the house and got smaller as it went higher. The "little-Corelli" technique he demonstrated on YouTube was non-existent. The B-natural at the end of the Act III aria was barely held and sounded like it came from a different voice. In fact, I don't think he produced a single decent high-note all evening. Perhaps the B-flat at the end of the Act I duet, but that was ruined by the idiotic staging that has Edgardo cutting off the B-flat and exiting, while the Lucia continues to sing it.
It is my opinion that he should have turned down this offer from the Met and he could have finished with all the positive reviews of his Arturo and promises of great things to come. Of course, with all his promise, why did his management accept a Met debut in a comprimario role?
It seems strange to me that there is all this defensiveness of Costello. He has chosen to be a professional and he deserves both accolades and criticisms. He has chosen to "put himself out there" and now will have to deal with the consequences. That is what a professional does. I am sure everytime La Cieca says something about La Renaaaay she cries all the way to the bank. She shouldn't care and neither should he. It is an opinion not a jail sentence.
In reading this and other blogs, there has not been one iota of doubt whether this is a great talent. In my opinion, he and his soon to be wife, are the most significant talents from AVA since James Morris. The only doubt was whether this debut is premature.
I too was in house and though I may agree with what many have said, including Luciano, I think he did a credible job.
The "new" MET must try to balance the ascent, apex, and descent of the career. Costello, in my opinion, is nowhere near the apex. However, too often at the MET we have heard singers in the descent of their careers. Therefore, I welcome a few on the ascent.
Given the few recent debuts of up and coming tenors, I would say that his was the most prominent and best performed. I dislike comparisons but Joseph Kaiser's debut was an utter and complete disaster. The worst singing of the season by far. Costello showed great promise yet not much polish. That I can deal with.
I wish Stephen the best in his career and look forward to hearing him again soon.
AVA has produced consistently wonderful talent that have a lot of stage craft and presentational skills yet, in my opinion, has been too eager and aggressive, at times wreckless, in their pushing them from the nest into careers they are not ready for. It has lead to some very fast decline in the vocalism and vocal quality of their graduates.
Striking while the iron is hot and striking when the iron is ready are too completely different concepts. So the warning shots fired by some of these comments may be well founded given a recent history of quick declines.
I know I come FAR late into the conversation, and I don't have anything new to provide except that the Hvorostovsky/von Karajan thing is really a Hvorostovsky/Solti thing. I believe it was a run at Covent Garden (the same one that was taped with Domingo and Te Kanawa). It was early 90's.
I think it is time to see the bigger picture here, and turn the conversation away from the singer. It seems that most everyone agrees that Mr. Costello handeled himself decently under the circumstances.
What is painfully clear is that this is a tenor who has been lauded and extensively promoted over the past several years. People like La Cieca and a few others, like heads of regional opera companies, have spoken so frequently and highly of him that people had to at least consider that he might be amazing. Observe the number of competitions he has won - London, BOTH tucker grants in , puccini, etc. Not knowing him personally, the career has had a pretty easy ascent since he is only 26 years of age.
I have questions :
Why has there been such a big deal made about a singer, when the final result is underwhelming? Did it really take a performance at the Metropolitan Opera for people to realize exactly what this talent is capable of? Obviously, the impressions made in a small room with piano, do not translate into a larger space. Why is it clear to me that the repertoire a singer offers is inappropriate 5 years before others see it? People who run opera companies and hand out hundreds of thousands of dollars a year should be able to hear these things.
YES talented singers should be given opportunities like this; they certainly were in past generations. But why THIS singer at THIS opportunity?
Please understand, I wish Mr. Costello all the best and do not want to diminish what was probably an amazing night for him. However, this is a HUGE issue that affects many singers and Stephen currntly has the most high-profile situation .
In my opinion? People with influence are inept.
around_town,
We're beating a dead horse, and here is the consensus of the blog, as I see it:
Costello, in his mid 20s, has a promising, developing good tenor voice, a future in opera, and nobody argues about it. Even if his Edgardo, after singing Arturo, was a thunderous success, which it was not, there would be no guarantee of a stellar future. Some actors after winning an Oscar
disappeared from the scene all together. Costello would rather get used to say no to heavy stuff, while his voice develops, in order to secure the potential of his instrument for futue prosperity
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