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42nd Annual Vocal Competition in Rancho Mirage
12/08/2025
Nestled inside Southern California’s Coachella Valley lies the tony desert community of Rancho Mirage. Beautifully pocketed at the base of the Santa Rosa Mountains, the Rancho Mirage Library & Observatory hosts the 42nd Annual Vocal Competition, sponsored by the Palm Springs Opera Guild.
This esteemed organization, though often overlooked, has underpinnings of grand-softened credentials, since it’s been steeped in continuity and longevity. For over four decades the Palm Springs Opera Guild has been an active arena in facilitating over 300 singers, to the tune of over $ 1 million in scholarships, to further advancements in operatic careers. Such notable alumni include Charles Castronovo, Sondra Radvanovsky, Angela Meade, Angel Blue and Amber Wagner. But this year marked a novel breakthrough: for the first time, this competition opened its doors nationwide which, previously, was only limited to participants who hailed west of Texas. Because of this fluidity, over a record-breaking 148 applicants applied for this contest, resulting in ten finalists vying for over $ 33,000 in prize monies. Indeed, this was a stellar event!
Within this cadre of excellence extrême the roster included voices from the soprano, mezzo-soprano, countertenor, baritone and bass-baritone registers. Each of the ten finalists were allowed to execute two songs (separated by an intermission) to display their artistic resolve. Indeed, the selections presented embraced the many genres within the operatic domain including Baroque, Romantic (including verismo), Neoclassical and contemporary/modern.
This year’s events were judged by three accomplished artisans in their own disclipline: Verdi extraordinaire (including the infrequently Tchaikovsky-performed opera, The Maid of Orleans) mezzo-soprano Dolora Zajick, Opera Neo Founder and Artistic Director Peter Kozma and Santa Barbara General Director, Kostis Protopapas. While this team of accomplished judges came to their own results, simultaneously, the audience was also allowed to vote for their own “chosen” singer under the “People’s Choice Award” category.
This year the First Place was awarded to bass-baritone Son Jin Kim whose rendition of Don Basilio’s “La calunnia” from Il barbiere di Siviglia was seething with “penetrating determination”. Indeed, a tad broad during sotto voce investitures, M. Kim’s “sinister unveilings” deeply widened with a gathering Italianate inertia. The second aria performed pulled from Jules Massenet’s coruscating Don Quichotte where the chevalier élégant sang his heart out with passionate fortitude during “Riez, allez, riez du pauvre idéologue”. M. Kim’s voice was bowling in projection, which tended to mildly “eclipse” the pathétique innocent buried deep inside the protagonist. Nonetheless, Son Jin Kim’s delivery was prodigiously incisive and searing.
Garnering the award for second place was mezzo-soprano Anna Kelly. Stalwart in volumetric control and grace, her two performances were quite demonstrative. As a first selection, she chose Benjamin Britten’s “Give him this orchid” from The Rape of Lucretia: the display was penetrating, thought-provoking with a “stirred soul in every facet”. Similarly, with sérieux approfondi Mlle Kelly revealed her interpretation of Charlotte’s “Letter Aria” from Jules Massenet’s Werther. Here, we discover a focused young lady, completely in control of her character, buried deeply inside this drame lyrique.
Fêted in third, accolades surrounded Luna Park in the soprano voice. Her stage presence was undeniably palpable while encompassing both of her two chosen arias: first, as Ophélie ("The Mad Scene" from Act IV) in Ambroise Thomas’ Hamlet that was delivered with indelible meaning and might, while the second aria turned to Richard Strauss’ Der Rosenkavalier, specifically the “Presentation of the Rose”. This rendition was packed with brilliant formality, endearing and iridescent (though a bit harsh in the higher notes.) Mlle. Park even used the red rose as a simple prop to tastefully suggest this poignant “Straussian moment”.
Kudos go to the musical backdrop and pianist Catherine Miller who attended to all of the shifts, nuances, and energies surrounding such a vast selection of pieces. Unflinchingly, her talented presence bracketed all of the music requested by all finalists.
Each of the singers on stage are to be commended in their performance, dedication and delivery to their art: perpetuation of opera moves forward more deeply inside the 21st century. Without these young artists, where would we be now?
Bravissimo!
Christie Grimstad
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