Friday, June 29, 2018
Thursday, June 28, 2018
|Dan Saunders, Gabriella Reyes de Ramirez, Gerard Schneider, and Adrian Timpau|
With the always wonderful Dan Saunders accompanying, three impressive talents joined forces for an all-too-brief (but nonetheless satisfying) recital of operatic favorites. We wanted the evening to never end!
Tenorrific Gerard Schneider opened the program with the rousing "Questa o quella" from Verdi's Rigoletto, leaving us no doubt about the Duke's fickle personality. What we love about Mr. Schneider's technique is that he knows how to float a high note and never pushes his voice. To hear a delicately floated pianissimo is a delight; to produce such a phenomenon seems out of reach to most tenors who think that their top notes must be fortissimo.
Baritone Adrian Timpau brought Da Ponte's clueless Count Almaviva to vivid life in "Hai già vinta la causa" from Mozart's Nozze di Figaro. He nailed Almaviva's personality and did so with a unique tonal quality that made us think of corduroy, for some strange reason, perhaps because it is plush like velvet but with more texture.
Soprano Gabriella Reyes de Ramirez gazed upward when singing "Stridono lassu" from Leoncavallo's Pagliacci and we saw the birds through her eyes whilst her voice trilled away with its gorgeous vibrato. The illusion was fostered by Mr. Saunder's piano.
With those three fachs on hand, of course we had to hear the trio from Donizetti's L'Elisir d'Amore. Adina gets to relish the enviable position of having Nemorino and Belcore competing for her attention in "Tran, tran, tran, tran". We know how singers love to do drunk scenes and Mr. Schneider did not fail us.
No one will ever replace Hvorostovsky but we have no worries about the next great Verdi baritone. Mr. Timpau was superb as Rodrigo, expressing friendship to Mr. Schneider's Don Carlo, who engaged our ear once more with his gorgeous pianissimo. ("Work it Gerard!", we thought.) "Dio, che nell'alma infondere" had a great rhythmic thrust with Mr. Saunders producing the thrumming chords in the piano. The vocal harmonies were delicious.
Turandot's aria "Tu che di gel sei cinta" is often screamed out. Not so in Ms. Reyes' portrayal which was as dramatically valid as it was musically effective. The high tessitura and high drama held no terrors for her.
Mr. Timpau wowed us with his well modulated performance of Yeletsky's aria "Ya vas lyublyu" from Tchaikovsky's Pique Dame. Here's the strange part--we only know about a dozen words in Russian but his performance left us feeling that we understood every word, as well as experiencing every feeling!
We do love serenades and Faust's serenade of Marguerite from Gounod's masterpiece was given a sincere and tender performance by Mr. Schneider who once again delighted us with his pianissimo. His French was given lovely pronunciation and phrasing and Mr. Saunders joined in with some lyrical and tender piano.
"La ci darem la mano" from Mozart's Don Giovanni was sung by Mr. Timpau, who got into the role of the seducer, and Ms. Reyes who seemed not to have much point of view about Zerlina as to whether she was frightened of the lord of the estate or a willing participant, or ambivalent. Vocally fine, she just needs to think about what kind of Zerlina she wants to be.
Mr. Schneider had no such deficit in his delivery of "Kuda, kuda", Lenski's aria from Eugene Onegin. The young man is filled with conflicting emotions as he faces death at the hands of his friend. The various colors Mr. Schneider employed, as well as his facial expression and gestures, took us right to the heart of Lenski's maelstrom of feelings.
We do not know Carlisle Floyd's Susannah very well but we've heard lots of sopranos sing "Ain't it a Pretty Night". It will never be among our favorite arias; at times the words feel shoehorned into the music. That didn't stop up from enjoying Ms. Reyes' performance which was filled with youthful longing. Her English diction was flawless and we understood every word, something we don't take for granted. The high note was stunning.
We have never seen Wagner's Tannhaüser but have loved the aria "O du, mein holder Abendstern" since we heard it in a film by the Taviani Brothers. (We thought it was in Padre Padrone but seeking an answer online, we read that it was used in La Notte di San Lorenzo. If any readers know the correct answer, please add it to the comment section.)
In any case, Mr. Timpau sang it in gorgeously rendered German, not to overlook the melismatic passages. We were transported!
The program ended with "O soave fanciulla" from Puccini's La Bohème, one of the world's great romantic duets, sung by Ms. Reyes and Mr. Schneider, who walked offstage arm in arm.
But wait! There would be three encores which was like a meal with three desserts! Ernesto de Curtis' 1912 "Non ti scordar di me" was given a beautiful performance by Mr. Timpau. Mr. Schneider sang the open-hearted "Dein ist mein ganzes herz" from Franz Lehar's Das Land des Lächelns and he sang it with his finely spun pianissimo which we enjoyed all night.
Finally Ms. Reyes enchanted the entire audience with "Carceleres" from Ruperto Chapí's zarzuela Las Hijas del Zebedeo, sung with high style and lots of sabor. Readers who know how we feel about zarzuela will know why we floated out of Jackie Robinson Park with feet not touching the ground. Good singing will do that to us!
(c) meche kroop
Tuesday, June 26, 2018
Monday, June 25, 2018
|Ísis Cunha, Sarah Kim, Javiera Saavedra, Carly Cummings, Abdiel Vazquez, Annmarie Errico, Lisa Nava, Jin Yu, and Erika Straus|
A friend we invited to attend Engelbert Humperdinck's Hänsel und Gretel expressed disinterest in "a children's opera". We couldn't help wondering whether that misconception has kept this marvelous opera from being on the "Top Ten" list of operas. Would we call Cenerentola or Cendrillon "children's operas" because they too are based on fairy tales?
Thankfully, that designation has never dissuaded us, although we find the overblown production at the Met rather dispiriting. This is indeed an intimate family story and rather resonant at this time since children are being separated from their parents at our Mexican border. We couldn't help thinking of that whilst watching Manhattan Opera Studio's excellent intimate production last night at the National Opera Center.
Fairy tales evolved over centuries, according to psychoanalyst Bruno Bettelheim, and serve to help children deal with psychological issues. Although the situation in Humperdinck's opera is not as dire as in the Brothers Grimm fairy tale (in which the parents abandon the children in the forest due to a famine), it still offers reassurance to children in that it reinforces sibling cooperation, stresses childhood resourcefulness, and offers the concept of helpful guardian angels.
This softening of the story was likely due to the fact that the libretto was written by the composer's sister for her own children. Just like Disney, she did not trust the terrifying nature of the original.
From the standpoint of an adult opera lover, our enchantment rests on the melodies lavished by Humperdinck on his sister's libretto. Many of them are based upon German folk songs but the orchestration shows the influence of Richard Wagner. The 1893 premiere was conducted by none other than Richard Strauss. Gustav Mahler conducted it as well.
Last night's production, part of Manhattan Opera Studio's Summer Festival, employed Kathleen Kelly's outstanding reduction of the score for chamber orchestra, comprising a string quartet augmented by flute, clarinet, and horn,with Jestin Pieper at the piano. From this group of splendid musicians, Maestro Abdiel Vazquez pulled a winning performance.
All of the singers were superb. Soprano Carly Cummings made a winning Gretel in pigtails whilst mezzo-soprano Annmarie Errico was convincingly boyish as Hänsel. Like siblings everywhere they had their moments of fun and moments of rivalry. We enjoyed the scene in which they dance together but really enjoyed their duets in which their two voices blended beautifully.
Their very angry mother was sung by Javiera Saavedra and their bibulous father was performed by Jin Yu. After the children are sent to the forest to forage berries, Father returns home drunk but Mother's rage is softened when she sees the abundance of food he has brought, thanks to selling all of his brooms. There's a lot of insight into male/female dynamics there.
The forest scene was lovely. Patricia Billings' clarinet gave us believable cuckoo sounds. A chorus in the rear of the hall echoed Hansel's cries. A charming Sandman (Erika Straus) helps the children find peace in sleep. The physical presence of the 14 angels was created by the audience's imagination. The children are awakened by a rather idiosyncratic and colorful Dew Fairy (Ísis Cunha) sporting a yellow slicker and matching umbrella!
Sarah Kim made a wonderful witch, and the upward stares of the children helped us to see her fly (offstage, of course). She put the children in a trance by means of a spiral design on a twirling umbrella. She cast a spell with her magic wand, utilizing it to control their movements. We were a bit puzzled however by her flamenco dance!
Stage Director Lisa Nava substituted imagination for money, leaving the audience to do some mental work, a good thing in our book. There was nothing onstage except some brooms and a couple of footstools which were used for important arias. The witch's death in the oven was suggested by a floodlight and crinkled red cellophane. Elizabeth Harraman's horn announced her demise. The chorus in the rear of the theater sang the parts of the children freed from her spell.
Manhattan Opera Studio presented this opera two years ago and we enjoyed it enough to catch it again. We had some quibbles about the directing and are happy to relate that Ms. Nava's direction is greatly improved. The characters related to one another and the family reunion at the end brought cheer to our heart as we imagined the reunions that will hopefully recur among our neighbors from South of the Border.
Our other quibble from 2016 was the titles of rhymed couplets which did not reflect a true German translation. This time, there were no titles but the German was quite clear and whatever was missed was made clear by the fine acting and direction.
Under the Artistic Direction of Carlos Federico Tagle and the Music Direction of Benoit Renard, Manhattan Opera Studio is a fine addition to the New York opera scene. There will be another chance to see this production Tuesday night at 8:00 at the National Opera Center. Although the cast will be different, we are sure that the quality will be as high.
Thursday and Sunday will bring productions of Mozart's Die Zauberflöte and we can scarcely wait. Keith Chambers will be conducting.
(c) meche kroop