Thursday, July 13, 2017
Tuesday, July 11, 2017
Monday, July 10, 2017
|Hyungjoo Eom, Sigal Chen, Roselin Osser, Alyson Sheehan, Aaron Halevy, Christian Kas, Rocky Sellers, Cassie Machamer, Matias Moncada, and Lisa Parente|
Last night's iteration was presented by Manhattan Opera Studio which we were introduced to last summer in a performance of Hansel und Gretl (review archived and found through the search function). This summer training program for young artists has grown rapidly from performing at Scorca Hall to the much larger and more comfortable theater that was formerly occupied by DiCapo Opera. The small orchestra which was squeezed into Scorca Hall now numbers 19 and occupies a proper pit, giving conductor Keith Chambers plenty of room to conduct an orchestra comprising many instrumentalists that play under his baton at New Amsterdam Opera.
Once upon a time we asked a famous symphony conductor where was the best place to sit. He replied, "As close to the conductor as possible". So it was that we decided to sit just behind Maestro Chambers on the front row, getting a first rate view of him and the musicians in the pit. This provided new revelations of just how marvelous Mozart's orchestration is and just how effective Maestro Chambers' conducting is. His style is restrained and not at all theatrical and there is a terrific rapport with the instrumentalists.
Kudos to Leesa Dahl for the harpsichord accompaniment to the recitativi.
The singing was excellent and gave evidence of some fine coaching. The acting revealed the fine hand of Stage Director Walker Lewis. We always appreciate the bits of stage business that make the characters seem like people we know personally rather than caricatures.
Pride of place goes to the eponymous Figaro, brought to vivid life by Matias Moncada. His characterization was so astute that we almost neglected to note his fine singing. His fine rich sound was differentially colored since Figaro has different feelings for his bride Susanna than he does for his arrogant boss. Just listen to how the color changes when Marcellina is known to be his mother and not an unwelcome creditor!
As Susanna, Lisa Parente created a sweet spunky character, smart enough to help her Figaro to foil those who would block their marriage. With blond braids and a petite figure, she looked absolutely perfect for the part. Her voice is a bit on the smallish side, but Maestro Chambers kept the orchestra down and her Act IV aria "Deh vieni, non tardar" was well done.
As Count Almaviva, Hyungjoo Eom made a fine foil, an arrogant and entitled aristocrat with designs on Susanna. He gets baffled and outwitted a lot. Mr. Eom used dynamic variation and vocal coloration to express his many moods. His arrogance and lechery made us think of Trump; this self-induced connection was far more valuable than if the director had placed him in a red wig! We object when directors try to spoon feed us!
As the neglected Countess, Sigal Chen sang with a rich full soprano that was notable for some impressive legato and beautiful phrasing. For most of the opera she is either depressed or disgusted with her husband's philandering and her two major arias ("Porgi amor" and "Dove sono") were appropriately colored. It was lovely to hear her voice change at the end when she forgives her wayward husband.
Mozart ensured that each major character got at least two arias and so we heard Roselin Osser as Cherubino perform "Non so piu" and "Voi che sapete". The acting she did with her body truly amplified the character but we wish she had not mugged quite that much.
We enjoyed the Marcellina of Cassie Machamer and were absolutely thrilled to hear her Act IV aria "Il capro e la capretta" which is very rarely included these days. This would make a fine stand-alone audition piece for her.
Rocky Sellers' Bartolo made a fine impression and he created a character not as stuffy as he is usually made out to be. He too has an Act IV aria that is rarely heard and we were glad for the opportunity to appreciate his fine voice. He showed special skills in the patter singing.
Aaron Halevy made good use of his tenor and mobile body to create a Don Basilio that was more colorful and humorous than loathsome in his gossiping. We barely recognized him in the role of the sober notary Don Curzio.
Alyson Sheehan made a sweet Barbarina and Christian Kas was very funny in the role of the bibulous gardener Antonio who unwittingly nearly foils the elaborate plot of Figaro, Susanna, and the Countess.
The singers performed exceptionally well in the ensembles, particularly the quartet in Act II. Ms. Chen and Ms. Parente sounded exquisite together with their two very different timbres.
The singing and acting were so impressive that we scarcely missed the lavish sets that are generally employed. A few packing cartons indicated the room Figaro was measuring for the marital bed (and, in a cute directorial touch, measuring Susanna). The Countess' room needed only a desk and a chair for Cherubino to hide behind. The garden was represented by some tall poles standing in for trees.
That the costumes were contemporary streetwear was disjunctive since aristocracy and the custom of droit de seigneur belonged to the 18th c. We can understand the decision made for budgetary reasons and overlook the issue. It would appear that the singers chose clothes from their own closets that would best express their character's station in life.
Susanna's simple white blouse and skirt were a good choice. The Count's suit and tie seemed right, with Figaro's more casual attire illustrating the difference in their station. Bartolo's outfit fell in the middle but we couldn't understand what was intended by the white lines painted under his eyes and across his scalp.
Basilio's get-up was sufficiently "rainbow" and Antonio's garb was perfect for a working man. Cherubino's outfit just seemed wrong with a particularly unflattering hat. And we wished that the Countess' cocktail dress had been more on the elegant side. No big deal, just sayin'.
The Italian was so well sung and the acting so effective that the lack of titles was not at all distressing, although we imagine that some people in the audience felt the absence.
All in all, it was a terrific evening; we would have been happy to see it once again the weekend of August 11th, along with The Magic Flute, which will alternate. But we will be reviewing opera in Santa Fe.
If you love Mozart, put it on your calendar!
(c) meche kroop
Sunday, July 9, 2017
The glorious farewell piece was Vincenzo Bellini's third opera Il Pirata. Inspired by Mozart and admired by Wagner, Donizetti, and Chopin, Bellini was a child prodigy trained at the conservatory in Naples. He came from a family of musicians and attended by virtue of a scholarship.
The head of the school gave him a valuable lesson that we wish the composers of today would heed. To paraphrase, if you don't master melody, you will wind up as a church organist in some small town. This must have stung since that pretty much described Bellini's family!
Fortunately, young Vincenzo heeded the advice and became known for his melodic gifts. It seems to us that he spun out long silken melodies like a silkworm whereas Rossini's melodies tumble out helter skelter. If his brilliant fioritura is reserved for moments of heightened passion, it permits long lyric lines to unspool at leisure.
So it was with Il Pirata, so magnificently performed by some major stars with Maestro Crutchfield conducting the Orchestra of St. Luke's. Soprano Angela Meade, about whom we have written before, needs no introduction. She is a confirmed superstar with a luxurious sound that sets the air to vibrating and a generous palette of vocal colors. Her coloratura in the final mad scene drove the audience wild with appreciation.
On the other hand, Argentinean tenor Santiago Ballerini just appeared on our event horizon but we recognize a star when we hear one. His physical stature is on the slight side but his vocal stature towers over most of the tenors we have recently heard. Not yet thirty years old, he has created a sensation in South America and is just achieving recognition in the United States.
The timbre of his voice is hugely appealing and he does not push or oversing. He possesses a stunning messa di voce and manages to float the high notes without apparent effort. We consider ourself a fan.
The opera itself does not have the most interesting libretto but Felice Romani worked exceptionally well with Bellini and the poetry of the text is outstanding, especially as married to Bellini's gorgeous melodies.
The story concerns two rivals for political supremacy and for the love of a woman. Gualtiero, the Count of Montalto (Mr. Ballerini) had been defeated by Ernesto, the Duke of Caldora (bass Harold Wilson) and lost everything except for his love for Imogene (Ms. Meade) who was obliged to wed Caldora to save her father's life. That's the backstory.
When the opera opens, Gualtiero is a pirate and he is losing his ship. This is recounted by the superb chorus, comprising the Bel Canto Young Artists who performed magnificently throughout the opera.
In the subsequent two acts he and Imogene recognize one another and realize that their love will never be consummated. The two men duel. The Duke dies. The Count turns himself in and is executed. Imogene goes mad.
Not much of a story but this was only 1827 and the beginning of the Romantic period of opera. Since the opera was semi-staged there was no ship and no shipwreck, just a lot of fantastic singing--not only arias but some impressive duets, trios, and ensembles.
We were particularly happy to hear tenor Sean Christensen, one of Caramoor's Young Artists in the substantial role of Itulbo, Gualtiero's lieutenant. We have been writing about Mr. Christensen's pleasing tenor for some time now and admired his growth as an artist.
As Goffredo, Gualtiero's former tutor, bass-baritone Joseph Beutel (well remembered from Santa Fe Opera) made a fine showing as well. And soprano Robyn Marie Lamp excelled in the role of Adele, Imogene's companion, a more generous role than that usually given to companions.
It was a splendid evening and a genuine pleasure to hear such grand voices all onstage together. As Caramoor's operatic interest will expand to include different orchestras and conductors and Teatro Nuovo will continue to present bel canto masterpieces, there will be a strong impetus to pull this city girl upcountry! Caramoor's 2018 offering will be Handel's Atalanta.
We wish both programs well as we reflect on all the wonderful singing we have heard at Caramoor and all the special artists to whom we have been introduced.
(c) meche kroop