Oksana Lepska, Kara Mulder, Yunji Shim, sopranos : 1st prize winners
Anna Shelest, Piano
Weill Hall at Carnegie Hall, New York, NY
May 19, 2019
On May 19, 2019, the Alexander & Buono International organization (alexanderbuono.com) presented two concerts for the winners of two different competitions (one for voice and the second for piano) at Weill Hall at Carnegie Hall. The first was the Barry Alexander Vocal Competition Winners Concert, featuring the first-prize winners, sopranos Oksana Lepska, Kara Mulder, and Yunji Shim, and will be the focus of this review (with the piano winners concert to be covered separately). Chairmen Barry Alexander and Cosmo Buono started the afternoon by greeting the audience, thanking them for attending, and speaking briefly about today’s performance and upcoming concerts.
Before all else, I must commend Alexander & Buono for the exceptional concert program booklet, which had all the qualities of a keepsake item. In a day when one finds oneself exasperated that often not even a cheaply produced single-sheet photocopied program is provided, it was a much-appreciated show of commitment to excellence that speaks volumes to this reviewer.
Oksana Lepska was the first to perform. Ms. Lepska has already enjoyed considerable successes, including being a finalist on Russia’s Got Talent. Her stage presence exudes confidence, and justifiably so. With a voice that filled the hall without a hint of stridency, coupled with technique to burn, Ms. Lepska is a force. The vocal gymnastics of Fiordiligi ‘s aria “Come scoglio,” from Cosi Fan Tutte were tossed off with what seemed to be an off-handed ease, and “Si, mu chiamano Mimi,” from La Bohème had a plaintive, child-like innocence that was charming; it was, however, in three Rachmaninoff songs, The dream, Do Not Sing, my beauty, and Spring Waters, that Ms. Lepska showed her true artistry. I know the expression is trite, but it does seem as if she was born to sing these songs.
Kara Mulder (www.karamuldersings.com) offered a program that was nearly all Dvořák (“Song to the Moon” from Rusalka, and all eight Love Songs, Op. 83). Ms. Mulder projects her voice with strength, but also with a warmth that is distinctly her own. She has an excellent dramatic sense, using the entire stage as she engages the audience. The gestures are natural and organic, without any “mugging” or other histrionics. The audience was moved by her artistry, with several “delays” for applause between several of the Love Songs. This listener, while holding to the convention of not clapping between parts of a musical set, was in complete agreement. I can’t pick one of the eight as a favorite, so I will happily take the whole! Ms. Mulder offered ” Leise, Leise,” from Weber’s Der Freischütz, which gave further proof to her versatility. It was a fine close to her portion of the program.
After intermission, Yunji Shim took the stage as the final performer of the afternoon. Her program focused primarily on art songs by Reynaldo Hahn and selections by the American composer Ernest Charles (1895-1984). While the uninitiated might think that “art songs” means salon trifles for smallish voices, this is far from the case, especially with Ms. Shim. She is a dynamo, with enough power and passion for several people. She used her power artistically and not as a weapon to bludgeon listeners. Ms. Shim seeks and brings forth the subtle nuances of the songs in such a way as to pull the listener completely in. As much as this listener enjoyed the Hahn and Charles songs, it was “Piangi…Un bel di vedremo,” from Madame Butterfly that won me completely over. Ms. Shim projected Butterfly’s hope of Pinkerton’s return with such absolute certainty that it was heartbreaking poignant.
The unsung hero of the afternoon was pianist Anna Shelest, who was a star in her own right. I am sure that Ms. Lepska. Ms. Mulder, and Ms. Shim were all delighted and grateful to have such an accomplished collaborator as Ms. Shelest.
Ms. Lepska, Ms. Mulder, and Ms. Shim returned to the stage for a final bow to the appreciative audience.
