Setting out to be a freelance opera singer is no easy task, given the competitive nature of seeking good roles in good companies and other vocal venues available for helping make a name for yourself. Despite the ultimate end product, successful and glorious operatic singing, the back story is that it requires lots of hard work and is a very tough world.
From her early days in the Manhattan School of Music, some nine years ago, and notably since receiving her master’s in music-voice performance a couple of years back from the Conservatory of Music, Brooklyn College, soprano Kinneret Ely has been making headway into the larger world of operatic and recital singing. She’s made impressive showings in vocal competitions and has sung in many operas and recitals largely in such New York locales as Carnegie Hall and Lincoln Center and Israel, the latter where she participated in the International Vocal Arts Institute which is the domain of co-founder and artistic director Joan Dorneman who is also the assistant conductor of the Metropolitan Opera. Of course, having Naama Zahavi-Ely, the founder of Opera in Williamsburg, as her mother hasn’t hurt her direction.
Along with her studies in Italy, Germany and France, Ely has been fortunate to associate with some notable folk within the world of professional opera, the results of which were evident in her Wednesday recital in the Williamsburg Regional Library Theatre.
Born in New Haven, Conn., but raised in Williamsburg and Israel, Ely has many qualities working in her favor. She presents herself well on stage, has a seemingly easy ability to talk to her audience and explain the meaning behind songs, and is sincere in what she does.
She also is not intimidated by languages, singing, in this recital, Italian, German, French, Russian, and Hebrew songs. This in itself is an appreciated skill that no doubt will work to her advantage as she continues to move ahead in career.
Of the 16 selections, all of which were given her utmost effort, there were several that stood out–Yoel Engel’s hauntingly lyrical “Children’s Lullaby,” Alexander Zemlinsky’s sweet “Blue Little Star,” Kurt Weill’s bitter-sweet “Je ne t’aime pas,” Richard Strauss’s exquisitely beautiful “Morgen,” and Giacomo Meyerbeer’s “Shadow Song” that found Ely in fine coloratura form. She provided two encores, a cute “Vanilla Ice Cream” from the musical “She Loves Me” and the popular “Musetta’s Waltz” from “La Boheme.”
Unquestionably this young singer has ambition and drive. This was not an easy program and she’s to be commended for doing a fine job. Continued study and work on essentials as constant breath support, fully carrying phrases to conclusion, and lessening a too constant nervous-sounding vibrato will augment her already established qualities and further enhance her opportunities to grow within the large world of opera that’s out there waiting for the next promising and exciting singer.
Assisting Ely in this program was pianist Chun-Wei Kang, a vocal coach and pianist at the Manhattan School of Music and faculty member of the Long Island University and OperaWorks. Her work was sensitive and supportive, Kang responding to Ely’s every vocal nuance. In addition to supplying superb support, Kang also showed substantial bravura in the score to Rachmaninov’s busy and flowing “Spring Waters.” Having her perform with Ely was an added treat in what was a very pleasing evening of song.
John Shulson, a Williamsburg resident and former professional musician, has been covering the arts for over 40 years. He makes a guest appearance in Margaret Truman’s “Murder at the Opera.”
