A most promising San Francisco (musical) Treat is heading to the Met ("Elektra" Second Maid, and a cover so far) and the Deutsche Oper Berlin (for "real roles"), and—beyond that, to a big career.
Initially, Heidi Melton arrived on the music scene here with a huge voice and irrepressible personality. Tonight, after five years of Merola-Adler incubation, she sang first-class, gorgeous Brahms and Wagner at a farewell recital.
Unlike Thomas Hampson and Anna Netrebko, who couldn't wait to get through 10 weeks of the Merola Program (and still turned out OK), Melton worked through two Merola terms and an unprecedented three years of Adler—by choice.
Who would have thought there was such steely determination underneath that crooked smile and hearty laughter. The investment paid off. No longer does she blow the walls down, just because she can. Melton today is a singer and an artist—precise and exactly right, serving the music above all, going to its heart. A true soprano, but with mezzo-dark undertones, Melton is ready for big roles, regardless of fach; and she is only 29 (30, tops... :).
The recital in the SF Conservatory Concert Hall, given by Maxine Bernstein's LIEDER ALIVE! featured Melton in three Brahms songs, and the Wagner "Wesendonck-Lieder" on a program shared with the (very young) lyric tenor Eleazar Rodriguez, singing Beethoven's "Adelaide," and—somewhat surprisingly—Schumann's "Dichterliebe." John Parr was the sensitive, supportive accompanist, contributing mightily to the evening.
Although Rodriguez—in his first Merola year—seems born for Donizetti at this early point of his promising career, he did handle the rather "heavy" music well, giving a mature, fine performance of the Schumann.
Melton's Brahms was a delightful surprise. "Wie Melodien," "Nicht mehr zu dir zu gehen," and "An die Nachtigall" were full-bodied, with just the right sheen (not calling attention to itself), communicating music and text fully.
In the Wagner, the opening and closing ("Der Engel" and "Träume") were luminously beautiful, everything right, the danger of oversinging nowhere in sight. Melton gave just a taste of the power of her voice in "Stehe Still!" and "Im Treibhaus," offered a gorgeous, unsentimental "Schmerzen."
Locally, we all have known of the Voice, but it was only tonight that we realized what mature, accomplished artistry Melton now possesses. It's too bad that for some years coming, we won't have a chance to hear her in
San Francisco. Enjoy her elsewhere, wherever she goes.