OPERA'S NEWEST POWER COUPLE

 Amir Farid,  Shelen Hughes Comacho and Joseph Parrish

Before we tell you about the best vocal recital we have seen all year let us share our joy in witnessing two magnificent artists perform together as a couple, not just an artistic couple but a romantic couple. We have seen similar situations that were marked by a disparity in artistic gifts and have felt sad to see one member of a couple riding their shooting star to fame whilst the other's career languished. We can understand how that could be a stressful situation. In the case of soprano Shelen Hughes Comacho and baritone Joseph Parrish we have no doubt that both will have stunning careers.

We have written quite a bit about each one (enter each name in the search bar if you are curious about their respective career paths) and have felt great joy witnessing their growing artistry, not to mention the awards they have received.

Yesterday's concert was in honor of their awards from Opera Index and we have no doubt that President Jane Shaulis experienced the same joy that we did. We review a seemingly endless stream of vocal recitals and usually find enjoyment tempered by cavils. Yesterday's program at The American Opera Center presented no opportunity for reservations. We were thrilled from start to finish.

The first half of the program was devoted to operatic arias and we noticed how both singers captured the essence of the characters they were representing. No gesture, glance or tilt of the head was a throwaway or "stock". Most likely everything was well rehearsed but gave the illusion of spontaneity. We got the sense that the words had flavors which were much relished. We haven't space to describe each offering but just want to choose a couple to illustrate. From Mascagni's L'amico Fritz, Ms. Hughes Comacho conveyed all of Suzel's shyness, innocence, and hopefulness as she presented a gift of flowers to the landowner she has a crush on. One didn't need to understand the Italian since every phrase expressed a shade of her emotions.

Of all of Mr. Parrish's choices we have chosen "A Dream Wasted" from William Grant Stills's Highway I U.S.A.. What? You are surprised that we actually liked a 20th century opera with an English libretto? Well we did and that's why we chose it --to elaborate on Mr. Parrish's formidable skills. He took on the character of the much put upon brother of a selfish wastrel whom he has sacrificed to support for years. Mr. Parrish captured all the mixed feelings and conveyed them to the audience--and he did so with such excellent diction and clarity of enunciation that we didn't miss a word.

We were thrilled to hear a zarzuela selection from Torroba's La marchenera entitled "La Petenera". This one was new to us; like so many zarzuelas, it revolves around a love triangle and gave Ms. Hughes Comacho an opportunity to reveal a multiplicity of emotions.  Mr. Parrish had a similar opportunity in "Los ojos de ver los tuyos", a serenade from Luna's  Molinos devientos another zarzuela which was new to us. There was no mistaking a lover's adoration in Mr. Parrish's performance.

After a generous selection of bel canto arias performed with all the necessary vocal flourishes, the couple performed "La ci darem la mano" from Mozart's Don Giovanni. This is one of those duets that can be inflected in so many ways and our two astute artists put their own spin on it, allowing us to see (hear) it in a new light.

We didn't think that the second half of the program could live up to the bel canto delights of the first half but we were mistaken.  Each artist dug deeply into their heritage to introduce us to new songs. Our lovely soprano performed "Evocaçao" from a rarely performed song cycle by Villa-Lobos that offered the same dynamic range as his Bachianas Brazileiros  as well as some minor mode tenderness. We also got to hear more of the piano of Amir Farid who is such a gracious and generous collaborative pianist.

Our brilliant baritone also introduced us to something new--Burleigh's "Her Eyes Twin Peaks" which ended with such a delicate diminuendo that we realized we were holding our breath. This is in contrast with so many singers who feel the need to grandstand. We prefer the subtlety that has us leaning in. 

The program closed with another duet. "If I Loved You" from Rodgers and Hammerstein's Carousel, an American classic. It was a charming way to end a delightful program and left us thinking that this couple has no "ifs, ands, or buts". One got the impression that their commitment to each other is as strong as their commitment to their art. Now this is not a review of a relationship but if it were we would give it 5 stars. There was no encore but we were totally satisfied and considered it a perfect conclusion.

It is indeed rare to attend a concert without thinking of ways in which the singing or programming might be improved. This was indeed a first!

© meche kroop

ORGY AND BESS

Jamilyn Manning Bernard Holcomb Angela Yam and John Taylor Ward

in Heartbeat Opera's "Orgy and Bess"

We chose to spend our Halloween evening at Judson Memorial Church with Heartbeat Opera at their annual drag show and we are so glad we did. The show succeeded on so many levels we scarcely know where to begin. 

If you came to have a riotous good time you would have been titillated by the off-color repartee and private jokes . If you came to hear your favorite arias professionally sung you would have been well satisfied. If you came because you love cleverly snarky dialogue and lyrics you would have left smiling. If you came for the visual impact you would have been thrilled by the costumes. 

This annual show is always top notch and this one even outdid prior iterations, thanks to the astute direction of Ethan Heard, the fine singing and acting by the cast, the lavish costuming by David Quinn and the outstanding make up design by Maiko Ando. The script was written by Ethan and Peregrine Heard and Jacob Ashworth.

If outrageous costuming is your thing stop reading and look at our FB and IG entries to see why we were so impressed. Nothing anywhere in NYC could have been as colorful and creative. If you came for the snarky gay humor we wish we had a transcript for you to read.  Better yet, you may be able to snag tickets since the show has been extended through next week.

If you are interested in the operatic offerings this is the right place to learn how context is so vital. Arias can be given different shades of meaning by virtue of the setting. Should you be offended by such tinkering, your opinion would have seemed well represented by John Taylor Ward's impression of an opera patroness of the Upper East Side variety. Eventually the hi jinx won her over and she joined in the fun, shedding her pearls and pumps to participate in the foreshadowed orgy. You will not be offended since said orgy takes place behind a white sheet leaving the various shadows to the interpretation of your imagination.

If suffering heroines comprise your operatic taste you might have fixated on Jamilyn Manning's interpretation of Lucia, complete with bloody wedding gown and great big knife. Or you may have preferred the Cio-Cio San of Angela Tam (also a knife-wielder) whose costume echoed contemporary Japanese girl fashions like "decora"and "gyaru". Poor Serena from Porgy and Bess is another suffering heroine and Bernard Holcomb gave her lament "My Man's Gone Now" a unique twist. Multiple pants roles were enacted by Sichel Claverie who, as a male, did not seem to suffer much!

Ears that were attuned to opera were kept entertained, identifying familiar arias and choruses no matter how out of context.  A medley of tunes related to Asian inspired operas and musical theater melded Puccini with Gilbert and Sullivan, Rogers and Hammerstein, Schönberg and Boublil. Vastly entertaining in the moment, it did lead to some reflection on the cultural depiction of Asian women from Flower Drum Song to Miss Saigon to Madama Butterfly.

There was a banquet of cleverness that was supported by a deep knowledge of the repertory. We would have loved to have been a fly on the wall during some of the writing sessions but must be content with marveling at the results. Opera lovers must have had a fine time playing "Name that Tune".  We are sure most of us picked up on the Wagner, the Verdi (loved the "Anvil Chorus" from Il Trovatore) ,the Donizetti, Bellini, Leoncavallo, Händel, and Orff. We probably missed a few such as Rameau's Les Indes Gallants and The Wiz, neither of which we have seen. And what an astonishment to hear Aretha Franklin's version of "Nessun dorma" performed by Mr. Holcomb.

All of the performances were spot on and, as you can see from the photos, David Quinn's costumes were outstanding, as was Maiko Ando's makeup design.  It comes as no surprise that Ethan Heard returned to direct the show; his artistic stamp is always recognizable.

The marvelous musical direction was in the hands of Jacob Ashworth and Dan Schlossberg who played, respectively, violin and piano. Mr. Ashworth made quite an impression as a Valkyrie when he took to the stage after the performance. A guitar and clarinet made up the remainder of the accompaniment and we have nothing but praise for the arrangements.

Although we have occasionally objected to HeartbeatOpera's tampering with the classics, their artistic leanings are always welcome on the occasion of the annual Halloween drag show which we have never missed.  Braving the Greenwich Village crowds and transportation snafus seemed a small price to pay for such an evening. It is amazing to know that a collection of musical and visual artists can conspire to produce an impressive evening like that.

We urge you Dear Reader to get tickets for the few remaining shows. Halloween is such a fun holiday that it seems worth extending the celebration of it for another week.

We will close by expressing the wish that the ghost of Al Carmines, the late Minister of Judson Memorial Church, might have visited the church and enjoyed the production. Mr. Carmines was himself a creator of vast talent and filled the church with a succession of original musical theater performances that were our introduction to the art form. On All Saint's Day, the dead are allowed to return to earth and enjoy an ofrenda from the living-- so our fantasy is not so far-fetched! We think of Heartbeat's production as an ofrenda to the spirit of Mr. Carmines. Does anyone still remember him, his warm and loving personality, and his original productions? We know for a fact that the renowned Ira Siff does, since he starred in one.

© meche kroop