Artist Profile: Countertenor Gus Mercante

Gus Mercante sings very high notes – and when he does you can feel the audience jerk awake wondering how a man can produce notes in the stratosphere normally reserved for altos and mezzosopranos.  Yet, the quality of upper notes in a countertenor are smoother than a soprano voice, more boyish and without that extra strain that can irritate the listener when an untrained soprano reaches a bit too high in her range.  The countertenor uses a trained upper range that is not a falsetto like Smokey Robinson’s voice (which I also love, by the way), but more like a pure and directed sound which many describe as ‘head voice’.  The trick is to make the transition from that upper range to the lower notes without changing the quality of the vocal production. 

When Gus sings his very high range, it seems as if his voice is landing downwards from a gentle height.  His rounded, well-controlled tones are exactly what has garnered him myriad awards.  He won the 2007 Austrian American Society prize, a 2009 Fulbright scholarship to Germany  which included performances with opera companies in Augsburg, Nurnberg and Munich.  

This week Gus will perform in the Tanglewood Music Festival – a summer training and performing school which has been used to launch giants of American music such as Leonard Bernstein.  Originally, Tanglwood was the site of summer concerts for the Boston Symphony under the baton of Serge Kousevitsky, and it has now grown to a full-time music center which attracts over 350,000 visitors and attendees each summer.  For Gus to perform in the American premiere of George Benjamin’s Written on Skin, conducted by the composer – one of Britain’s prominent musicians -  is quite a coup for our local talent. 

Fame won’t change Gus.  He is always helping others – making calls to organize musicians and delivering scores to be transposed, handing out programs at the Italian festival with the calm of any old volunteer – yet, minutes later, he is singing his heart out to give a startlingly passionate rendition of Di tanti palpiti from Rossini’s Tancredi . His voice soars and resounds – especially in such a reverberant church.  In spite of thunderous applause, Gus’s first reaction is to study what he could have done to improve, which is no doubt why he is so good.

When he is not studying or helping others organize concerts, Gus is an active contributor to charities and worthy causes.  He makes his music work for others with his organization Lifesongs with which he raises money for charities and individuals as well as community-centered projects. 

I encourage you to listen to Gus while he is still a local artist, because those days may be limited. 

See www.augustinemercante.com.

Catch Free Live Music Every Thursday at the Wilmington Farmer's Market

The Wilmington Farmer's Market at Cool Spring Park is back every Thursday from 4 to 8 pm through October 3rd, with lots of local produce, baked goods, jams, honey, sausages, hot prepared food, artisan gifts, and, of course, entertainment. Stop over at six for dinner and live music in the park --  last week, the market opened for the season with rockabilly from The Green Mountain Valley Boys.

The Green Mountain Valley Boys at the Wilmington Farmer's Market.

This week, bring the kids out for Nature Jams! For a complete list of the weekly entertainment, see the entertainment schedule.

The Wilmington Farmer's Market is part of the Food Bank of Delaware CSA Program and the Senior Citizen 60+ Program. For more information, see coolspringfarmersmarket.org.

Another Festival Visit...More Excellent Music!

Guest blogger Maxine Gaiber is Executive Director of the Delaware Center for the Contemporary Arts and founding board director of the Delaware Arts Art Alliance. Her high school art teacher wrote in her yearbook, "be gentle as a critic," and she is finally following his advice!

The Delaware Chamber Music Festival Quartet.

Each time I attend the Delaware Chamber Music Festival, I am overwhelmed both by the quality of the performances and the enthusiasm of the audience.  And each time I gaze over the variegated sea of shades of gray hair around me, I worry about the future of classical music in the U.S.  Maybe each classical musical group should have a mandatory “bring your grandchild for free” day, so that a new generation can get “turned on” to this rewarding musical genre!

 

The Friday, June 21 Virtuosos concert was no exception.  I must admit that I lingered over my lo mein too long at the Chinese Festival and missed the Rachmaninoff piano trio, but the rest of the program more than made up for it.

 

Clancy Newman was brave to take on the well-known Brahms Sonata for Cello and Piano in E minor, Op.38, but seemed up to the task.  He gave a lyrical performance filled with stunning musical contrasts and emotional energy.  He plays the cello high up against his body almost like a bass and — surrounding the cello with his arms and head — becomes almost one with his instrument.

 

The two Paganini pieces which followed, while well performed by Barbara Govatos and Christiaan Taggart, seemed slight and restrained by contrast, as though the musicians were warming up for the jazzy, tango-based Piazolla work which was next on the program.  This first movement of the History of the Tango gave Govatos and Taggart more opportunity to show the range and versatility of their instruments.

 

Smetana’s Piano Trio in G Minor, Op.15 was a fitting finale to this virtuoso evening. Newman told the sad story of the composer dedicating the work to his daughter, who died at age 7, but it wasn’t really necessary.  The passionate work is filled with sadness, anger, tenderness, and joy and needs no back story to amplify its power. It is a beautiful ensemble piece that enables all of the instruments to perform as one, as well as shine on their own. Govatos’ firm control of her instrument and her head of unmoving tight curls were in sharp contrast to Newman’s dramatic poses and flying locks of hair, but, visual styles aside, they make beautiful music together and were ably complemented by Marcantonio Barone on the piano.

 

By the end of the evening, I was shaken and stirred and slightly tipsy from the brilliant concoctions of music that wafted from the stage of the Concert Hall of The Music School of Delaware. Bravo and salud!

See www.dcmf.org.