Merola16 * Notes *
The Adler Fellows for 2012 are likely to be announced next month, so it is time to speculate on which Merolini (pictured left in the 2011 Grand Finale, photograph by Stefan Cohen) will return to San Francisco. Tamara Sanikidze will have completed her two years as an Adler this Fall, so we will get a new collaborative pianist. As for singers, the outgoing Adlers are sopranos Leah Crocetto, Susannah Biller, and Sara Gartland; mezzo-soprano Maya Lahyani; countertenor Ryan Belongie; and tenor Brian Jagde.

This year there were many fine low voices. Bass-baritones Peixin Chen and Philippe Sly were perhaps the most impressive of the 20 singers. Chen does lack in diction and in English proficiency, but his low notes are incredible. All 6 baritones had lovely voices, but Suchan Kim and Johnathan Michie were exceptional. One should, however, note that only baritone called back during the General Director Auditions was Gordon Fang. As for tenors, though they could all sing pleasantly, they all had their various weak points, and none were really up to the bar of other recent Adler tenors.

The strongest soprano was probably Suzanne Rigden, she was the most consistent week over week. However, one suspects she is already in another apprentice program, as she was the only soprano not called back during the General Director Auditions. Marina Boudart Harris had the most memorable performance in the Finale. For the mezzo-sopranos, Renée Rapier has the warmest and darkest sound. Rapier is a Domingo-Thornton Young Artist, which leaves Deborah Nansteel and Laura Krumm. Both have pretty voices, with much brightness. Nansteel's voice is more dramatic, but Krumm has the advantage of being fit.

* Tattler Guesses *
Robert Mollicone
Marina Boudart Harris
Laura Krumm
Deborah Nansteel
Peixin Chen
Philippe Sly

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4 responses to “Adler 2012 Speculation”

  1. Lilacrobin Avatar
    Lilacrobin

    Charliese, great guesses on who will stay…..although I will miss Mr. Michie….I am already a huge fan…but I assume he has been signed elsewhere…drat!
    Hugs,
    ♥ Robin ♥

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  2. Suzanne Avatar
    Suzanne

    Is there any reason why, with all of the fine young singers training here, there should be an Adler Fellow who “lacks in diction”? It’s taught, ad nauseum, in top US conservatories, and if singers from other countries are lacking in one area or another, I think it would be reasonable to ask them to reapply when they are up to standard in all of the basic areas of singing. At this level no one should be having pitch or diction problems and all should have the stamina to make it through a performance.
    Such allowances are not made for instrumentalists, so why should vocal performance be looked at any differently?

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  3. The Opera Tattler Avatar

    Michie really was terrific in that Dr. Atomic aria.

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  4. The Opera Tattler Avatar

    That’s a good point. It probably has to do with how the instrument is the body in this case. For instrumentalists, I think a lot of being good is tons of practice, and from a young age. For singers, practice is still important (certainly for diction), but there is still the embodied quality of the voice. I am sure if I practiced singing 40 hours a week, I would still be terrible, for instance.
    As it is, many Merolini are snapped up by other programs, which means the Adler Program might not be able to get the most promising young artists, even if they aren’t great at pronouncing words of German, Italian, or French.
    For pitch, well, even the supposedly best opera singers have problems with that, so I do think allowances have to be made for intonation.

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