They are changing the guard at Covent Garden. Less than 24 hours after Bernard Haitink's tribute-laden farewell on Saturday, the seedcorn of the future took over the opera house on Sunday. After a year of waiting in the wings, the five singers on the Vilar Young Artists scheme had a chance to prove they have something substantial to offer.
The evening consisted of six ensemble scenes - two Strauss, two Donizetti, one each by Mozart and Bellini - all simply but effectively staged for the occasion by John Cox, and briskly conducted by Steuart Bedford. Each of Covent Garden's young operatic interns performed at least four roles, with plenty of variety and challenge. Two guests completed the roster: Christopher Steele making up the numbers in the Ariadne auf Naxos harlequinade, and Diana Montague in two substantial contributions as Mozart's Donna Elvira and Bellini's Romeo.
Considering the occasion, it was not surprising that it took a while for nerves to settle and for the Vilars to sing - and move - with confidence. A scene from Don Giovanni was stiff and unengaging, and one from L'Elisir d'Amore fared only marginally better. But things settled down in the scene from Capriccio. After the interval, in scenes from Maria Stuarda, I Capuleti e i Montecchi (with a real Montague as Romeo), and Ariadne, the operatic juices really flowed. It was an evening of which all involved can be rightly proud, not least Covent Garden itself.
As ever, the best performances came from the singers with the best vocal technique. Gweneth-Ann Jeffers stood out as a lyric soprano of real potential in her ambitious responses to the varied demands of Donizetti's Elisabetta and Strauss's Countess and Ariadne. Grant Doyle also made an immediately favourable impression as Don Giovanni and Strauss's La Roche. Edgaras Montvidas and Darren Jeffrey both have stage presence but neither is vocally quite the finished article yet.
On this showing, the most complete artist of the lot is the soprano Sally Matthews. Her creamy tone made her an ideal Zerlina, and her Adina was most distinguished too. Her Giulietta, with ideally floated pianissimos and long bel canto line, was the evening's vocal highlight. No sooner was that done than she was back, cartwheeling on to the stage for the Ariadne scene. The evening finished with Matthews poised to sing Zerbinetta's great aria - a real treat in store for another occasion.
