This one-night-only event celebrated the collaboration of the National Opera Studio Young Artists, with its partners: English National Opera (ENO), Scottish National Opera (SNO) and Welsh National Opera (WNO). The Young Artists have worked with SNO and WNO and the project nurtures the next generation of talent. This London concert was to introduce these young singers.
Scenes were mainly performed in their original language. Two scenes were in English to honour ENO’s policy of opera in English.
Part I began with Act III Duet from Augusta Holmès’ rarely heard work La Montaigne Noire (1894). She was the first woman to compose an opera for Palais Garnier, Paris. The music is alluring and lyrical. Performed by British mezzo Nancy Holt and Welsh Tenor Emor Lloyd Jones, the singers had a good connection. Holt has a lovely warm voice, with good bloom in the higher register, and strong lower range. Jones has an easy, agreeable voice, but slightly tight when he opens up.
The quartet from Act III of Puccini’s La Bohème followed. South-African soprano Moloko Letsaolo as Mimì has an exciting quality, although the top pp on ‘fior’ at the end did not work properly. South-African tenor Luvo Maranti as Rodolfo has an impressive dramatic quality for a young voice. ‘Mimì è tanta malate’ was especially moving. Russian Baritone Egor Sergeev as Marcello, despite an impressive CV, sang flat most of the time; he has a long way to go. British/Argentine soprano Ceferina Penny did her best as Musetta, but more should have been made by both singers of the language in their row of insults – vipera, strega. The insults need more breathing space; they were rushed and lost all effect.
Part II started with the opening scene of Humperdink’s Hänsel und Gretel. Both Ceferina Penny as Gretel (much better suited to Gretel than Musetta), and Nancy Holt as Hänsel were excellent. Holt’s warm mezzo blended well with Penny’s bright soprano. They were convincing boisterous kids.
Act I Sc 2 of Verdi’s Ernani followed. Scottish soprano Rachel McLean impressed in the dramatic, treacherous role of Elvira. Singing this kind of repertoire so young, she will be sought after, provided she takes care of her voice on the way. The role of Ernani, sung by Luvo Maranti, is too heavy for his voice at the moment. He was more impressive as Rodolfo. Don Carlo is beyond the capabilities of Egor Sergeev. The lovely arioso ‘a quell di’ was thin, flat, lacking vocal line and vocal palette. There was a moment in the action when Elvira slaps Carlo; that is a character mistake. He is the King; Elvira would never slap him.
The duet for Act II of Massenet’s Cendrillon sung by Dutch/Argentine soprano Ana-Carmen Balestra as Cendrillon and South-African/Australian mezzo Sarah Winn was the most successful item. Both singers were knockout. Balestra has a lovely vocal quality and floated top, Winn has a stunning warm mezzo, both with wide vocal palettes. They blended well.
The Act II Trio from Weber’s Der Freischütz (in English) was a good vehicle for British soprano Olivia Rose Tringham to show off a warm voice which soars easily and suits the role of Agatha.
The least successful excerpt was Act I Sextet from Mozart’s Così. Sergeev as Alfonso rushed the recitative with unintelligible Italian. Letsoalo and Holt as Fiordiligi and Dorabella sang well, but their characterisation was poor. Balestra was excellent as Despina, but Hungarian baritone Aleksander Kaczuk-Jagielnik as Guglieglmo could barely be heard.
The opening duet from Nicolai’s Merry Wives of Windsor, sung in English, was well sung by Rachel McLean and Sarah Winn, but not enough was made of the comedy, possibly because the humour works better in the original Italian. The voices were well-matched, although the extract was too long.
Act II Scene 3 of Bologne’s L’amant Anonyme is a lesser-known gem. Both Ana-Carmen Balestra and Emyr Lloyd Jones as Léontine and Valcour were excellent.
The finale was from Mascagni’s l’Amico Fritz (it should be performed more!) Olivia Rose Tringham’s Suzel showed off her generous soprano, with a good chest register.
The changes from one scene to another were slick, although other singers appearing before the end of numbers was distracting. Maybe this is not the best venue for sound.
This is a fun evening for singers and audience alike, and a perfect way to spot new talent.
Sinfonia Smith’s Square, London.
Conductor Rory Macdonald
English National Opera Orchestra
Director Part I – Welsh National Opera scenes: Laura Attridge
Director Part II – Scottish National Opera scenes: Emma Jenkins
Singers – Nancy Holt, Emyr Lloyd Jones, Moloko Letsoalo, Luvo Maranti, Egor Sergeev, Ceferina Penny, Rachel McLean, Sarah Winn, Ana-Carmen Balaestra, Olivia Rose Tringham.
Running time 2 hours with interval.
7th March 2025
Image credit: © National Opera Studio/ Richard Hubert Smith 2025