Masterclasses create miracles

Declan Cudd (left) with tutor Cesar Ulloa, going through their paces at Friday's masterclass. PICTURE / JACQUI MCGOWAN

JOAN: I shared and enjoyed the excited buzz of anticipation as a large audience gathered at the Prince Edward Auditorium last Friday for the first of the two masterclasses of the 2018 Whanganui Opera School. These are my favourite part of this wonderful fortnight. Here it feels as if miracles are wrought, as talented young singers present themselves, house lights up and thus audience in full view, before strangers and their peer group, but, most terrifying of all, to the experienced ear and eyes of their international tutors. They must, standing in the wings, know that feeling of total disbelief that this opportunity has been offered to them, an absolute conviction that they are hopeless and have no right to be there but, saving grace indeed, the longing to fulfil a certainty that their voice is a treasure given to them and that they are destined for great things.

The four 'bravehearts', Joe Haddow, Olivia Sheat, Declan Cudd and Alexandra Gandionco, will have experienced those feelings a good few times before as all are well qualified in their chosen studies and all have taken focal parts in opera works in various parts of the country — to much acclaim. This shone through in their initial performances before Cesar Ulloa, eminent tutor, here again this year from San Francisco. Inevitably, as with any performance, the audience responded to that certain extra something that certain singers just have. In leapt Ulloa, easily recognising, where I certainly could not, breathing patterns that needed attention and phrasing that lacked impetus. The results of the changes that he brought about in his eager students provided the excitement for them and for us. An immediate improvement was apparent and, in the short time that each singer practised what was suggested, a huge leap forward was made.

Olivia Sheat has a background linked to both Kiri and Malvina's support. Lucky girl. Being frank, however, her interpretation did not touch me for some reason. I loved the aplomb with which Joe Hadlow presented his excerpt from Don Giovanni. His stance was strong, his actions endearing and his voice, more mature than I had expected, appeared both confident and melodious. I shall remember his performance.

Alexandra Gandionco, who teaches as well as performs, appeared very nervous in the beginning. Ulloa enabled her and her audience to see the power and thrilling capability of a very lovely and individual voice and we loved her.

I am allowed to admit that my most enjoyed performer was the unusually named Declan Cudd! As he walked to centre-stage, he looked more likely, in his gear, to be arriving at a local bank for a job interview! I smiled, he sang and I was entranced. His whole being was brought to life and his hands were a natural and so important addition to his voice. Like the other soloists, Declan was so eager to improve breathing, pronunciation and phrasing and, once more, the new layer of performance was so remarkable.

Ulloa is so gracious and gentle in his advice — never a 'put-down', always a knowledgeable suggestion. He sees the person as well as the singer and addresses them in such a way as to gain immediate response and result. Marvellous! I look forward to his talk, alongside Delia Jones, this Friday at 2.30pm.

Terence Dennis is extraordinary. His talent as a pianist is to be revered but his ability to know precisely how and when to use the instrument to support both tutor and singer is, to someone like me, spell-binding. At times, it is difficult not to observe him alone.
I was able, after the class ended and people mingled over a drink, to say to Declan what I have written here! He was most gracious, though obviously amused, as he listened to this old lady unable to hold back in her comments. However, I hope he realised how deeply I had been thrilled by his performance. I should perhaps have added to my dubious validity by telling him that past visits to Covent Gardens and the Metropolitan, New York have given me some measure of what I find exciting and thus his performance had endeared him to me even more.

MIKE: The first exhibition of the year at 85 Glasgow St opened last Friday, the Rayner brothers offering Big Eyes, the adjacent room showcasing the works of artists living between London and Dublin streets. Considering the limited parameters of the designated area, it was surprising to see how many talented artists were represented on the gallery walls. It was good to see my consistent favourites featured there — Matt Dutton, Rachel Garland and Catherine McDonald.
Big Eyes displayed predominantly the works of Mark and Paul Rayner, as well as a number by Sheila Pearson. Intrigued by the blank stare of a portrait of a young girl, by Sarah Ziessen, entitled After Keane, I admitted my ignorance and asked Mark if he could enlighten me on who Keane was. He did so, with the suggestion that a search on the web would be interesting. It was. An American artist of the 1960s, Margaret Keane was kept in 'virtual slavery' by her husband Walter, locked away to paint. When a work was completed, Walter would claim both the credit for it and the cash it earned. Margaret painted big-eyed waifs, mainly women, children and animals. Presumably men did not fit easily into such a category! There is a film about her, which I must find. It sounds a curious tale.

MIKE: 'Extravagant layers of acrylic paint, mixed with iridescent inks, to capture the beautiful colours of the land, sea and sky'. These words are taken from the artist's statement, but cannot in any way describe the vibrant blues, greens, reds and other colours which leap off the walls to confront you on entering Space Gallery. Froyle Neideck returned to New Zealand recently after 47 years in Australia, wishing to find her roots and her family. Her back story is both important and relevant, as it provides the well spring of inspiration for this exhibition.

Adopted at nine days old, taken to Australia aged 2, Froyle has long felt a sense of rejection, which, she says, is common to many she has met who have been adopted. Under the encouragement of a close friend, she decided to return here last year, along with the mother who adopted her. Her intention was to inquire into her background. Within a few days of starting her search, she located her birth mother, arranged a meeting and was relieved to discover that her fear of rejection was unfounded. Since then she has also met several siblings, which has given rise to a wholeness in her life. Based in Palmerston North, Froyle has produced a number of paintings on linen, in acrylic or mixed media, which represent the various phases of The Journey Home.

Suggestions or comments to mjstreet@xtra.co.nz