Salvo Vitale and Jessica Gould
(photo by Harold Levine)
March 8, 2026 by Guest Reviewer Joan Greenberg
Ester Liberatrice Del Popolo Ebreo
An Opera composed by Italian Composer Alessandro Stradella, with a libretto by Lelio Orsini (1673)
Let us not bury the lead. Salon Sanctuary Concerts delivered!
Founded in 2009, its stated mission is to “present special projects that view history through the prism of music which endeavor to encourage understanding among people of different faiths through the performance of sacred repertoire in houses of worship open to all.”
The world needs more Esters and more wonderful concerts like the one delivered last Sunday at the Museum at Eldridge Street located on the lower East Side of New York City. The audience included adults and children and the sanctuary level was filled to capacity.
The musicians and singers were all stellar…. Not only the principals, but the chorus as well with strong harmonies and effective presentation. We believed that they were all distraught townspeople terrified of looming genocide.
It was a lovely surprise that Stradella’s treatment of an oft told Purim story felt new and inviting, even though the composition created and the libretto written in the 17th Century.
Presumably because the venue did not have the ability to project supertitles above or adjacent to the stage [or display “Met Titles” on the back of audience seats] English translation sheets of the lyrics were available to audience members who were not fluent in Italian. We indeed found the translations by Martin Morell and Jessica Gould extremely helpful.
Even the building came through. The acoustics were music friendly with not a hint of synthetic reverberation or amplification in the air, and the human and non-human musical instruments blended and enhanced each other.
It should be noted that the museum is housed in the historic Eldridge Street Synagogue, built circa 1887. The building is one of the oldest (if not the oldest) synagogues in the United States. After twenty years and approximately twenty million dollars, it was beautifully restored, to be a religious sanctuary (as opposed to a theatre or an opera house). We mention this to point out two unique viewing factors: (i) the musicians (and their beautiful Baroque instruments) were staged front and center at eye level with the audience and immediately below the pulpit; and (ii) except for the balcony and center aisle seats, there were some viewing challenges. On the other hand, the limited performance space resulted in some creative staging in that heretofore mentioned center aisle, to which some had much better views than others. So, that could be something to try to improve on in the future.
It was a lovely surprise that Stradella treatment of an oft told Purim story felt new and inviting, even though composition created and the libretto written in the 17th Century.
Whilst the concert clearly felt collaborative, some performers had more screen time, so to speak, which we would like to highlight.
Jessica Gould’s Ester, through her intensity of voice and emotional actions, brought us along on Ester’s journey from fear, to responsibility, and most critical to her ultimate actions, bravery. There was something electric watching and hearing her go from frightened to formidable.
We have been fortunate to have experienced the vocal clarity and range of Mezzo-Soprano Kinneret Ely before. Consistent with her past performances Ms. Ely’s commitment to character was front and center. Therefore, we should not have been surprised with her ability to make us believe, that she was Mardocheo, a prominent male figure in the biblical Book of Ester and capable of thwarting Haman’s evil plot. The character is pivotal in motivating Ester to take the action that makes the story of Ester inspiring….. and (coincidentally?) appropriate during International Women’s Month.
Sonia Tedla as Speranza Celeste with her agile soprano did indeed give the townspeople heavenly hope.
Paul Max Tipton as Haman had a thankless role. From the outset one wants to hate him despite his dignified bass-baritone.
Salvo Vitale as Assuero, with his deep base and general appeal made the relationship with Ester somewhat exciting.
We looked forward to Mathew Curran’s Testo, perhaps because his beautiful bass nicely summed up the events which just transpired, particularly in Act I.
We will end as we began. Salon Sanctuary Concerts’ presentation of Ester Liberatrice Del Popolo Ebreo delivered!
Principals:
*Jessica Gould (Soprano)as Ester [Queen Esther]
Sonia Tedla (Soprano) as Speranza Celeste [Heavenly Hope]
Kinneret Ely (Mezzo-Soprano)as Mardocheo [ Modechai]
Paul Max Tipton (Bass-Baritone) as Aman [Haman]
Salvo Vitale (Bass) as Assuero [King Ahasuerus]
Mathew Curran (Bass) as Testo [Narator]
Chorus:
(Members of the New Consort Vocal Ensemble)
Elisse Albian
Christina Kay
Emerson Sieverts
Brian Mummert
Musicians:
Members of the Baroch Orchestral Ensemble, Camerata Grimani
Ian Jones and Kiyoun Jang on Violin;
Andrea Damiani on Theorbo
Adam Young on Viola da Gamba
Cameron Khan on Harpsichord
Notes:
1- “Ester Liberatrice Del Popolo Ebreo” is an opera composed by Italian Composer Alessandro Stradella
His source material is the Jewish Holiday of Purim which is based upon the Book of Esther.
It tells the story of a Jewish woman who becomes Queen of Persia and saves her people from genocide.
Set in Susa, Esther and her cousin Mardocheo, thwart a plot by the villain Haman to destroy the Jews, resulting in Haman's downfall and the establishment of the feast of Purim to commemorate the victory.
2- Background story:
King Ahasuerus (Xerxes) “removes” his wife Queen Vashti because she refuses to honor his wishes (to attend a banquet and display her beauty), thus setting a bad precedent for all husbands. Thereafter, the King holds a beauty pageant to find a new queen. Esther, hiding her Jewish identity, is chosen.
3- Haman’s Plot:
Mardocheo, Ester's cousin, refuses to bow to Haman, a high official. Enraged, Haman convinces King Ahaseuerus to sign a decree to annihilate all Jews in the empire (the first decree).
Mardocheo, hopes that Ester as the new Queen will intervene. Despite the danger (entering the King's presence without being called was a death sentence), Esther resolves to go, saying, "If I perish, I perish".
4- Ironic Reversal:
Ester hosts another banquet for the King and Haman. She reveals Haman’s plot, and the King decrees that Haman be executed on the very stake he built for Mardocheo (the second decree).
5- Victory and Celebration:
While the first decree could not be revoked, the King allows the Jews to defend themselves. The Jews triumph over their enemies, and Mardocheo is promoted to high office.
6- Providence:
Though God is never explicitly mentioned, his providence is shown through coincidences and the protection of the Jewish people.
7- Courage and Identity:
Esther risks her life to honor her identity and protect her community.
8- Purim:
The story explains the origins of the Jewish festival of Purim.
9- Modern Day Ironies and Coincidences:
Today Purim is celebrated with colorful costumes, festivities and food.
One of the foods “Hamantaschen” which is primarily a triangular pastry usually filled with either jams, poppy seeds, or chocolate. The shape is intended to resemble the hat worn by Haman.
10- We tried to honor the Italian versions of the biblical characters names, and did so for the most part, except for “Haman”. Amantaschen as a pastry name just does not work.
© meche kroop
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