Domingo’s Operalia names 11 finalists
NewsDomingo’s Moscow-based talent competition has reached the final round.
All but two of the contestants are either American or from part of the former Soviet Union. The exception are a Peruvian and a Korean. There is also a counter-tenor (pictured) for light relief.
Ivan Ayon-Rivas, tenor, Peru
Dmitry Cheblykov, baritone, Russia
Bekhzod Davronov, tenor, Uzbekistan
Mané Galoyan, soprano, Armenia
Jonah Hoskins, tenor, USA
Victoria Karkacheva, mezzo-soprano, Russia
Valery Makarov, tenor, Russia
Keymon Murrah, countertenor, USA
Edward Nelson, baritone, USA
Jusung Park, bass-baritone, South Korea
Emily Pogorelc, soprano, USA
Joshua, Edward, Ivan and Emily are absolutely phenomenal. This year’s finalist pool is an exceptionally strong roster of talent,
Little confused as a Peruvian tenor is also a finalist, Norman.
Watched the semifinals yesterday. The only two who I didn’t think performed well enough to merit a place in the finals were the American baritone (mediocre, slow as hell Tanzlied) and Pogorelc who just screamed Lucia and made the character seem batsh•t from the start. The Armenian soprano Galoyan was extremely impressive, as was the Peruvian tenor.
Couldn’t disagree more. Ms. Pogorelc’s expressiveness was captivating, both on Lucia and on her zarzuela. Frankly, I’d have a hard time making any comment about the tone quality, as the audio on that livestream was horrible and distorted a great deal of that Lucia. But her vocal agility was impressive.
As for the Armenian, I was sort of just bored. Pretty one note if you ask me. I’d watch Pogorelc over her in a heartbeat.
Truly no idea what you’re talking about regarding Galoyan. First off, such different voice types, why compare them? Second, I also heard Pogorelc’s version. Just a bunch of screaming since she’s not a high soprano by any means. Why would she keep on interpolating up when the top is so hard? Let her sing -ina parts before Lucia, a part that even if sung by lighter voices verges on the dramatic coloratura as written.
The Spanish in the Zarzuela was just so unintelligible, and it didn’t seem like she had a feel for it. Not blaming her. She’s young. But just not quite polished enough with what she’s doing yet.
Emily Pogorelc has a very distinguished background. A Curtis grad, a prize winner from Glyndebourne Opera (youngest finalist), featured at Glimmerglass, at least six first prizes in major vocal competitions, major appearances in the USA, Germany, the UK, Iceland, France and more. She has been with the Lyric Opera in Chicago and is now in Munich at the Bayerische Staatsoper (2021 debut). So, many people on an international level disagree with your statements.
Will there be a live stream or similar to the final?
I’d like some further insight re: your closing editorial comment (insult) about the countertenor being “light relief.”
Perhaps this might be a slight because he happens to be a black man? Why did you feel important to include a selfie of him?
Or maybe just your own small mindedness/ignorance about the value of countertenors? One might note that the Met auditions have consistently advanced countertenors in the past decade. Have you described all of them as “light relief?”
Regardless, your comment is clearly meant to be an insult. You didn’t feel it important to add descriptive adjectives or selfies for any of the other finalists.
Have you actually heard him sing? I have, and there is nothing light about his singing. A simple google search will find impressive examples.
Elaborate.