On the occasion of its all-Verdi summer season, the San Francisco Opera
is presenting its resident (young) singers in two concerts of "Italian
Song." The first event took place tonight in Herbst Theater, a fascinating
program organized, narrated, and accompanied by John Parr, the company's
Head of Music Staff.  Along with the quaint title, Parr - Birmingham-born,
Peter Sellers-like, with extensive music experience in Hannover and Berlin
- also presented interesting, informative and engaging mini-lectures
between the songs.

The program opened with three Verdi songs:  his first published work
("Non t'accostare all'urna" - "Do not approach the urn") and his last song
("Stornello"), with "The Gypsy" in-between.  The evening closed with three
other Verdis - "Lo spazzacamino," "La seduzione" and "Brindisi." (On June
13, the remaining Verdi song repertory will be performed:  "In solitaria
stanza," "Perduto ho la pace," "Il tramonto," "Nell'orror di notte oscura,"
"Ad una stella," "Deh, pietoso, oh addolorata" and "Il mistero.")

The pre-Verdi portion of tonight's program included three songs by Bellini,
three by Donizetti, songs by Carissimi, Cesti, Scarlatti, and a lengthy
cantata by Marcello, "Didone." (The next concert will move forward in time
from Verdi, with Puccini and Tosti.)

In spite of the wealth of songs from Italian composers, Parr pointed
out, "there was no Italian Schubert" or even a tradition of lieder - in
composing, publishing or performing.  The reason? Possibly the dominance
of opera, and the fact that most of those who wrote songs were primarily
opera composers, opera being their day jobs.  And yet, Parr said - and he
demonstrated his point - there is a large store of beautiful songs from
Italy, which deserve to be heard.

The four young singers presented a fascinating contrast.  Suzanne Ramo and
Kyu Wan Han have big voices, many colors, an intense approach to singing.
Katia Escalera and Brian Anderson have more modest instruments, they keep
it simple, and - at least to this pair of ears - make for "better" singers.

Ramo is especially impressive and disconcerting with her "many voices,"
changing timbre almost from note to note, particularly in her heroic
presentation of the long and difficult "Didone." Ramo also lets loose, if
for no other reason that she has the volume to flaunt.  so she does.  Han
operates in a similar manner, especially with Verdi, but presented a more
disciplined approach in the three Bellini songs.

I like Escalera's simple, effective style very much.  Unlike Ramo,
the mezzo from Cochabamba, Bolivia, has only one voice, but it's a most
appealing one.  From her Nancy in "Albert Herring," to Diana in "Calisto,"
to tonight's Donizetti and the program-opening "Stornello," this young
artist is more than "one to watch" - she has already arrived, and it's
up to the world to notice.

Anderson's voice is not exceptional, but what he does with it can be
memorable - as it was tonight, especially in the simple, honest SINGING of
Cesti's "Tu mancavi a tormentarmi." Cruel hope torments this young tenor no
longer:  his voice found the right placement, and Anderson found his place
in the repertory.

Janos Gereben/SF, CA
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