Merola Grand Finale 2025: A Perfect Blend of Comedy, Emotion, and Vocal Excellence

A Night of Musical Excellence at the Merola Grand Finale

Nineteen young singers filled the War Memorial Opera House with a dazzling array of arias, duets, and ensembles during the celebratory Merola Grand Finale. The concert, held on Saturday, August 16, marked the culmination of eight weeks of intensive training for the 2025 class of the Merola Opera Program. This prestigious program serves as a proving ground for aspiring singers aiming to secure spots in the San Francisco Opera's Adler Fellowship.

The evening showcased a remarkable balance of emotions, blending pathos, comedy, and tragedy into a cohesive performance. The opening chorus, "Paris! Entrons dans la fournaise" from Jacques Offenbach’s La vie Parisienne, set a lively and comedic tone that carried through the rest of the program. Mezzo-soprano Meg Brilleslyper delivered a saucy and alluring rendition of "Que j'aime les militaires" from the same composer’s La Grande Duchesse de Gerolstein, capturing the spirit of the piece with flair.

This year’s Merola cohort featured an impressive lineup of lower men's voices. Joeavian Rivera, Justice Yates, and Wanchun Liang stood out in a scene from Rossini’s The Barber of Seville, joined by mezzo-soprano Ariana Maubach and tenor Minghao Liu. Their performance was energetic and well-coordinated, highlighting the strengths of each singer.

Liang’s rich, dark-toned voice shone in an aria from Puccini’s Gianni Schicchi, where the title character schemes to steal an inheritance. Baritone Gabriel Natal Báez and soprano Eva Rae Martinez provided a dramatically alert and vocally sumptuous interpretation of a duet from Donizetti’s Lucia di Lammermoor, showcasing their technical prowess and emotional depth.

Baritone Benjamin Dickerson gave a vivid performance of Schubert’s Erlkönig in Hector Berlioz’s orchestral arrangement. While his portrayal of the different characters could have been more distinct, his overall performance was compelling. Bass John Mburu delivered a moving and magnificent rendition of "Old Man River," collaborating with Rivera in a hilarious duet from Donizetti’s Don Pasquale.

Higher voices also received their moment in the spotlight. Chea Kang captivated the audience with her characterful soprano and mesmerizing presence in an aria from Engelbert Humperdinck’s Hansel und Gretel. Soprano Sofia Gotch and Brilleslyper charmed the crowd with their duet "Abends will ich schlafen gehn" (When I go to sleep at night), demonstrating their strong vocal chemistry.

Minghao Liu, with his bright and slightly dry tenor, confidently nailed all the high Cs in "Ah, mes amis…Pour mon âme" from Donizetti’s Daughter of the Regiment. Charlotte Siegel delivered a stunning performance of "Io son l'umile ancella" from Francesco Cilea’s Adriana Lecouvreur, showcasing a sumptuous soprano that belied her youth.

In the only Baroque work on the program, mezzos Anna Maria Vacca and Sadie Cheslak offered a poised and affecting duet from Handel’s Giulio Cesare, displaying their control and musicality. Soprano Ariane Cossette and tenor Jin Yu gave an impassioned and rich-voiced performance of "Va! Je t'ai pardonné…Nuit d'hyménée" from Charles Gounod’s Roméo et Juliette, bringing emotional intensity to the stage.

Soprano Alexa Frankian, who had previously impressed as part of the quartet from Verdi’s Falstaff, delivered an ardent performance of "Addio, mio dolce amor" from the rarity Edgar, highlighting her unique vocal qualities that Puccini would have appreciated.

Elio Bucky, a 2025 Merola artist, directed the performance with suave panache, ensuring that each singer had the opportunity to shine both dramatically and vocally. Kelly Kuo conducted the wide range of styles with aplomb, providing ideal support to the singers throughout the evening.

The Merola Grand Finale not only celebrated the talent of these young performers but also served as a testament to the rigorous training and dedication required to succeed in the world of opera. It was a night filled with promise, artistry, and a glimpse into the future of classical music.