We are here to encourage the development of gifted young singers and to stimulate the growth of New York City's invaluable chamber opera companies. But we will not neglect the Metropolitan Opera either. Get ready for bouquets and brickbats.

Friday, May 28, 2021


 We would go to the ends of the earth to hear one of our favorite sopranos interpret the role of our favorite female character. Fortunately we only had to go to 112th St. to hear Shaina Martinez show us more about Violette Valery than we had ever realized. Aside from a stunning voice, it is just this sort of insight that keeps us involved and makes us want to hear the same opera repeatedly. It's all in Verdi's music, of course, but most singers fail to delve deeply enough into the role and surrender to stereotypes. 

Let us begin by thanking The Lighthouse Opera Company for this live performance of Verdi's masterpiece La Traviata. We can think of no other opera that has such a profound effect. It is the clearly drawn and complex characters of Francesco Maria Piave's  libretto (adapted from Alexander Dumas' La dâme aux camellias) and their growth from one act to the next that captivates us.

In Act I, Violetta is a brittle and shallow "party girl", burning the candle at both ends. In Act II, she is a woman who has surrendered to love and softened. She is struck down by some pretty bad news delivered by her lover's father, allowing the provincial papa to see her true feelings but bravely hiding them from her lover.

In Act III, she is a pathetic and desperate dying woman, longing for the support that may never come. Although we were not given an excerpt from Act I (the restrictions of the staging could not have allowed it) Ms. Martinez limned her characters growth in Act II and her fading hopes of Act III.

And here comes the part that was new to us, an aspect that the artist conveyed by the most subtle but effective coloration. Violetta is not just making a sacrifice to help her lover's sister achieve a respectable marriage; she is actually identifying with this pure young woman who has led a respectable life, is accepted by society, and enjoys protection by her devoted father. One could see in the artist's facial expression and hear in her voice how her nobility of character and identification with the other more fortunate woman made this sacrifice possible.

Not only did we thrill to Ms. Martinez' vocal artistry but we were captivated by the depth of her characterization. Who of us has not felt a combination of admiration, identification, and envy of those whose fortunes are far more sanguine than our own.

The vocal artistry was so perfect that it served the character without calling undue attention to itself. This is what we love to see in an opera performance. We think that those who focus on the high notes or other technical aspects are missing the boat.  The thrill of opera is in the drama! Do we believe it? Can we identify? Are we moved? Yes, yes, and yes.

The other performances were excellent. Tenor Michael Celentano did a fine job as Alfredo. His "De' miei bollenti spiriti" was as ardent as one would wish and we were pleased to note Mr. Celentano's growth as an artist since we heard him the last time.

Baritone Joseph Gansert was an effective Giorgio Germont, demonstrating all the smugness of a provincial ready to read the riot act to the unacceptable paramour of his wayward son. How effectively he rose to a position of empathy as he realized Violetta's quality! This set the stage for Act III when he comes to her deathbed with respect and affection.

The duet with Violetta "Pura siccome un Angelo" was finely rendered and his pleading with his son "Di Provenza mar e suol" revealed him to be well meaning but manipulative.

Violetta's companion Annina was performed by Ema Mitrovic and the role of Dr. Grenvil was taken by Charles Carter. Matteo Adams portrayed the messenger Giuseppe. These are small roles but were well done.

Conductor and pianist Stephen Francis Vasta stood in for the orchestra and managed to convey the textures of the music as well as a solo piano could. Director John Tedeschi did the best he could within the confines of a tiny stage in a lovely church. All he had to deal with was a couple of chairs and a lectern that stood in the way. Singers were obliged to keep their six feet of distance with exchange of letters merely suggested.

These are indeed strange times for opera and The Lighthouse Opera Company did their best. Exceptional voices and acting can make up for a lot of "lacks". The imagination of the viewer must compensate and what our mind's eye produced was definitely not the "Dr. Death and Big Clock" symbolism of the latest Metropolitan Opera iteration but rather scenes pulled from our memory of more traditional and effective productions. 

© meche kroop

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