CONCERT REVIEW: Vocal duo of Wolanska and Kulish perform in Montreal (05/18/03)

CONCERT REVIEW: Vocal duo of Wolanska and Kulish perform in Montreal

by Claudette Berthiaume-Zavada

MONTREAL - The Montreal public had the pleasure to hear a recital of melodies, arias and duets of classical as well as operatic Ukrainian repertoire in an exceptional performance held on April 19 at the Oscar Peterson Concert Hall of Concordia University.

In a program titled "Love and Death," Halyna Wolanska and Taras Kulish - the two Montreal-born Ukrainian singers - presented a selection of famous opera arias and duets, as well as German lieder and French melody, which comprised the first half of the concert program, followed in the second half by an all-Ukrainian program. Such a combined menu offered the public an opportunity to appreciate the rich potential of the performing artists. The unique quality of their voices and remarkable, warm and dynamic interpretations received an enthusiastic response from the audience.

The idea of a mixed program, one suitable not solely for a Ukrainian public, served two purposes: the integration of great arias from Ukrainian composers like Lysenko and Hulak-Artemovsky, alongside the works of Mozart, Verdi, Ponchielli, Richard Strauss, Jacques Ibert and Handel promoted Ukrainian music by offering the public an occasion to discover a repertoire not generally known - one that should take its deserved place among the vocal repertoire as a whole. At the same time, it gave the Ukrainian audience an opportunity to discover the very rich potential of two young Ukrainian singers already engaged in a promising career.

Ms. Wolanska, a lyric soprano who is of Ukrainian and Greek descent, completed her music studies at the McGill Conservatory of Music, with subsequent studies in Milan and Vienna. She made her European operatic debut in Mozart's "Die Zauberflöte" at the Varna International Music Festival. Her lieder debut was in 1996 in Montreal and her North American operatic debut was in 1998 in the role of Mimi in "La Bohème" under the direction of Monique Martin. Recent performances include roles such as Rosalinda in "Die Fledermaus" and Cio-Cio-San in "Madama Butterfly."

Mr. Kulish, a bass-baritone who is already involved in a successful career in many opera houses in North America, made his European debut touring France and Belgium in the title role of "Don Giovanni." He has appeared to critical acclaim singing the title role in "Le Nozze di Figaro," as well as in the roles of Colline in "La Bohème," The King in "Aida" with Vancouver Opera, and Basilio in "Il Barbiere di Siviglia" at Opera Saskatchewan.

Mr. Kulish completed his music studies at McGill University in Montreal and at University of Toronto and received professional training at l'Opéra de Montréal and Vancouver Opera. A finalist at the prestigious Belvedere International Opera Competition in Vienna, Mr. Kulish also performed in American festivals including the Aspen Music Festival and Tanglewood where he sang in the anniversary production of "Peter Grimes" under Seiji Ozawa. Upcoming events include a debut with the Montreal Symphony Orchestra in a concert version of Tchaikovsky's "Eugene Onegin."

From the outset of the concert program, which opened with excerpts from Handel's "Serse" and "Berenice," Mr. Kulish presented himself with authority and a fine and communicative musical stage presence. Mr. Kulish has a remarkable command of articulation and pronunciation no matter in what language he sings - be it English, Italian, French or Ukrainian.

His constant control of his rich bass-baritone voice and vocal technique, the precision of pitch and a good sense of timing and rhythmic precision gave way to neat and honest interpretations throughout the entire concert showing his good musical taste, deep comprehension of musical emotions and his ability to adapt various styles.

These qualities were revealed especially in Ibert's difficult "Chansons de Don Quichotte" and Ponchielli's aria "Ombre di Mia Prosapia" from "La Gioconda." The natural and spontaneous interpretations of the duet "La ci darem la mano" from Mozart's "Don Giovanni" as well as of the Ukrainian repertoire in excerpts from Lysenko's "Taras Bulba" and Hulak- Artemovsky's "Zaporozhets za Dunayem," demonstrated his professionalism on stage.

Ms. Wolanska conquered the public with her unique quality of voice. The warmth, flexibility and particular tonal color of her voice was the instrument of a very sensible, emotional and convincing interpretation of "Sempre Libera" from Verdi's "La Traviata," which found particular resonance with the audience. Even though there were beautiful moments in Strauss' lieder "Ständchen" and "Morgen," Ms. Wolanska manifested obvious qualities and affinity for operatic repertoire. Much at ease with Ukrainian repertoire, she showed the richness of her potential in a most refined interpretation of Mayboroda's "Ridna Maty Mojya" and one of her father's compositions, Bohdan Wolansky's "Tozh Prosty. "

Esther Gonthier, one of the most active and renowned pianists on the Quebec music scene, offered musical support to the artists, mastering the art of accompaniment with a remarkable musical complicity.

The concert ended with a marvelous duet interpretation of Lysenko's "Koly Rozluchayutsia Dvoye."

The artists should be commended for reinstating a concert formula that was forgotten for a while in Ukrainian cultural and musical events and which is most worthy of a revival. The high quality of the production contributed to enhancing the Ukrainian vocal repertoire and giving it the place it merits among the music-loving public at large. It should also be noted that the translation of the concert program into both French and English was a much-appreciated idea.

This high quality linkage with musical heritage happened to be a very rewarding musical experience, and was greeted by the public with enthusiasm. It was, indeed, a recital to remember.

Claudette Berthiaume-Zavada, Ph.D., is a pianist and musicologist at l'Université de Montréal.

| Home Page |