It is called `Merola Program Grand Finale,' but for 37 of its 40-year
existence, it was `Finals,' as in the last lap of race.  Then somebody nice
and PC decided that opera should be egalitarian, all the better to protect
the fragile egos of young singers.  Otherwise, they may all turn into
Battling artists, see?

A rose by any other politically correct name, this *contest* among the
young singers in the San Francisco Opera's pioneering apprentice program
is still an exciting, meaningful event, with all eyes (and ears) on the
`winners.' If you can't take the heat, better pick an easier profession
such as brain surgery combined with extreme-sport events.

In tonight's finals/finale of the 1999 Merola Program in the War Memorial
Opera House, after a slow, uneventful first half, *the* winners were:

-- Bolivian mezzo Katia Giselle Escalera, 24, who shined in two relatively
small selections (member of the Trio in Bernstein's `Trouble in Tahiti, and
the delightful Concepcion in an excerpt from Ravel's "L'Heure Espagnole"),
and then came front and center, in "Per questa fiamma indomita" from "Anna
Bolena." It's a big, stunning voice, with a promise of spinto-with-beauty,
possibly in the proper soprano range.  By the time she hits 25 or even 26,
we'll know.  Meanwhile, she is ready for real roles in real houses.

-- John Tessier, 29, from Irvine, CA, a lyric tenor with a superb
projection and apparently no limit in high notes.  His Arnold in "Ou
vas-tu?" from "Guillaume Tell" brought the house down, well deserved.

-- Twyle Robinson, 29, a soprano from Luisiana, already made an impression
as Vanessa in the Barber opera, and then she nailed it in the title role in
Verdi's "Luisa Miller," in the program-closing scene, "Fra' mortali acora
oppressa." She ruled the stage with a stunning vocal presence.

-- Sharing the "Luisa Miller" spotlight:  Kyu Won Han, 27, a Korean bass,
as Miller.  Earlier, the warmth and strength of his voice was affecting in
an "Arabella" excerpt, with the remarkably talented Meagan Miller in the
title role.  The 24-year-old soprano from Pennsylvania sang an Arabella
that was superior to many a "post-apprentice" performance I have heard.

-- Opera means more than "just" voice, and Oren Gradus, 24, a baritone
from Brooklyn, proved that with his hilarious General Boum in "Piff, paff,
pouff" from Offenbach's "The Grand Duchess" of Gerolstein -- and there is
a lot of voice there there too!

It's unpleasant but unavoidable to report that the often great SFO
Orchestra apparently hasn't started pre-season training yet.  Ian
Robertson, the outstanding chorus master and fine all-purpose conductor
at other times, couldn't get the orchestra out of its summer relaxation:
long, slow, uninspired passages rolled by -- from "Un Ballo," "Fidelio"
(particularly dreadful), "Barbiere," etc.  -- before the musicians woke up
to "The Rake's Progress"...  and then sounded more like themselves to the
end of the program.  One wonders if there were rehearsals (in the plural),
especially for the first half of the evening.

It is a good thing that in a few years, when this group of Merolini
conquers the world and we can say that "we were when," the strained
strains of tonight's Beethoven will long be forgotten.

Janos Gereben/SF
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