A SECRET LOVE

 Alexandria Crichlow, Gabriel Hernandez, and Eric Viñas

Mozart may have dominated the music scene in Austria but we are not well acquainted with French composers of the Classical Period in France. It was a fine thing to be introduced to the lovely music of Joseph Bologne, Chevalier de Saint-Georges; there is a delicacy to the music that tickles the ear and the melodies are eminently singable. His sole surviving work is the 1780 comic opera L'amant anonyme, a one act work brought lovingly to the stage by New Camerata Opera.

.The composer was born in Guadeloupe to a slave woman named Nanon and fathered by a French plantation owner who brought his family to France when Joseph was but 7 years old, and ensured that his son received a fine education. Young Joseph exhibited early aptitude for music, dancing, and fencing; his charm, talents, and good looks won him a place in society although at certain times his being a mulatto brought ugly prejudice into his life. From what we gleaned from our reading, his life story would have made a splendid opera in and of itself. How fitting that we are lauding his work on Juneteenth!

This brief opera was premiered at a private theater for the entertainment of aristocrats and it is likely that the composer himself bore within a secret love for a Caucasian woman. Perhaps he was working through his predicament by means of his art.

Love is a carelessly handled state in 21st c. America; people jump in and out of relationships like rabbits. But in 18th c. France, love was a serious issue and many rules of etiquette had to be observed. It was not unusual for folks to pine away for a love object and many chansons and mélodies were written about unfulfilled longing and desire.

In the libretto by Desfontaines-Lavellée, our hero Valcour (performed by Gabriel Hernandez) has been writing anonymous love letters for a few years to the widow Léontine (sung by Alexandria Crichlow). The two lovers-to-be needed help getting together with Ophémon (performed by Eric Viñas) and Jeannette (played by Brittany Hebel) urging and importuning.

Director Brandon Shaw McKnight set the work in a TV studio in the 1960's which seem as remote to us as 18th century France. Costume Designer Stephanie Mae Fisher created a vaguely 1960's look with the chorus needing only go-go boots to complete their "mod" costuming. Our heroine appeared to be an opera singer performing on television and was decked out in an over-the-top gown and wig. No set designer was credited so we assume that Visual Designer and Props Master Ariana Swei devised the clever set with an office stage right, including a typewriter! Stage left was a convincing dressing room and in the center was a studio complete with. "Applause" and "On the Air" signs.

Although we deeply resent directors trashing the classics that we adore, tinkering with a trivial one-dimensional plot of an unknown work is another thing entirely and Mr. McKnight's direction, veering toward slapstick in its exaggeration, brought interest to a story devoid of conflict or subplot. Musical Director Kelly Lam directed a chamber group of about a dozen musicians comprising strings and woodwinds, prominent among which were a pair of bassoons.

It was an altogether charming and delightful 90 minutes of tuneful arias, duets, and ensembles enjoyed in the comfortable Naelberg Theater at Baruch College. There will be performances Friday and Saturday night as well as a matinée on Sunday. There are two casts so we cannot guarantee you will hear the same cast as we did but we can guarantee you will enjoy yourselves as much as the highly enthusiastic audience last night.

© meche kroop