For the first time in 3 years, the MPO opening gala had a festive air about it. It opened with a poorly orchestrated version by Andre Caplet of Debussy's Children's Corner Suite. (The original piano version is far superior). Star guest artist was the superb Korean soprano Sumi Jo who was in very fine form. As an artist, she also has more personality than previous gala stars (Yvonne Kenny and Alexander Toradze). After a tentative start in Gounod's Je veux vivre (from Romeo & Juliette), she came into her own in Verdi's Sempre Libera (La Traviata) - a magnificent performance. Also very enjoyable was Meyerbeer's C'est bien lui (L'etiole du nord) with two flutes (in descant parts), adding to the already-florid soprano line. Best of all the songs that Sumi Jo sang was Offenbach's Olympia's Song (The Tales of Hoffmann) in which she sang magnificently (and also acted the part of a cranked-up doll). Bamert accompanied her very well in the Offenbach but did not offer any special insights into the last piece - Ravel's Daphnis & Chloe Suite No 2. But for once in the three years that Bamert had led this event, the audience thoroughly enjoyed themselves - thanks to the superb Sumi Jo!
Wednesday, 20 February 2008
Sumi Jo steals the show at the 07/08 Gala
8 Sep 2007 - Sumi Jo, MPO, Bamert (MPO Gala 2007/08)
For the first time in 3 years, the MPO opening gala had a festive air about it. It opened with a poorly orchestrated version by Andre Caplet of Debussy's Children's Corner Suite. (The original piano version is far superior). Star guest artist was the superb Korean soprano Sumi Jo who was in very fine form. As an artist, she also has more personality than previous gala stars (Yvonne Kenny and Alexander Toradze). After a tentative start in Gounod's Je veux vivre (from Romeo & Juliette), she came into her own in Verdi's Sempre Libera (La Traviata) - a magnificent performance. Also very enjoyable was Meyerbeer's C'est bien lui (L'etiole du nord) with two flutes (in descant parts), adding to the already-florid soprano line. Best of all the songs that Sumi Jo sang was Offenbach's Olympia's Song (The Tales of Hoffmann) in which she sang magnificently (and also acted the part of a cranked-up doll). Bamert accompanied her very well in the Offenbach but did not offer any special insights into the last piece - Ravel's Daphnis & Chloe Suite No 2. But for once in the three years that Bamert had led this event, the audience thoroughly enjoyed themselves - thanks to the superb Sumi Jo!
For the first time in 3 years, the MPO opening gala had a festive air about it. It opened with a poorly orchestrated version by Andre Caplet of Debussy's Children's Corner Suite. (The original piano version is far superior). Star guest artist was the superb Korean soprano Sumi Jo who was in very fine form. As an artist, she also has more personality than previous gala stars (Yvonne Kenny and Alexander Toradze). After a tentative start in Gounod's Je veux vivre (from Romeo & Juliette), she came into her own in Verdi's Sempre Libera (La Traviata) - a magnificent performance. Also very enjoyable was Meyerbeer's C'est bien lui (L'etiole du nord) with two flutes (in descant parts), adding to the already-florid soprano line. Best of all the songs that Sumi Jo sang was Offenbach's Olympia's Song (The Tales of Hoffmann) in which she sang magnificently (and also acted the part of a cranked-up doll). Bamert accompanied her very well in the Offenbach but did not offer any special insights into the last piece - Ravel's Daphnis & Chloe Suite No 2. But for once in the three years that Bamert had led this event, the audience thoroughly enjoyed themselves - thanks to the superb Sumi Jo!
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