THE BELLES OF BEL CANTO

                                     Anna Tonno, Ashley Galvani Bell, and Alla Milchtein 

Gorgeous arias! Melodic duets! Riveting storytelling! Lavish costuming! Convincing acting! Effective set! Were we at the opera? No, we were not but our involvement matched that which we experience at the opera house. As a matter of fact, we were at La Espacia de Cultura at New York University, enjoying a musical event created by DIVAria Productions, helmed by Ashley Galvani Bell.

We have reviewed a number of performance by this superb soprano; however it is the three DIVAria Productions she created (at least the three that we have seen) that set her apart from other singers. Like us, Ms. Bell seems captivated by the Bel Canto period of the early 19th century and her strong but agile instrument lends itself generously to the fioritura of the period. For this work, Mrs. Rossini Meets Madame Malibran, her stage partner mezzo-soprano Anna Tonno took the role of Madame Malibran (née Maria Garcia of the famous Garcia family, which brought opera to New York) whilst Ms. Bell portrayed Isabella Colbran Rossini.

Both women were superstars of the world opera stage who had interesting lives as well, lives worth dramatizing, as we learned. Both singers were as effective dramatically as they were musically with Ms. Bell portraying the older Colbran and Ms. Tonno bringing the younger Ms. Malibran to vivid life. Early in the evening, we witnessed Colbran meeting the child Maria and the portrayal was so dramatically convincing that Ms. Tonno completely submerged her womanly identity and became a six-year-old!  What a feat of acting! It was effective in spite of the lower register and timbre of her beautifully colored instrument. Sadly, the legendary mezzo-soprano did not lead a long life but she did lead a rather colorful one and survived a horrific horseback riding accident.

Colbran presented a rather more settled and resigned mien, finally accepting the romantic blandishments of the young Rossini and surviving a disappointing marriage with the philandering composer. It was so interesting to watch events unfold through the words of the women in letters , amplified by arias composed by Rossini, Michele Carafa, and Saverio Mercadante, as well as songs composed by the two superstars themselves.

The flow of the evening was so intense that we never looked at our program! In spite of our familiarity with Bel Canto the arias and songs we heard were new to our ears and consistently delightful. By means of Ms. Bell's scholarship and judicious editing we felt as if we knew these two divine women. Let us give credit to the fine directing of Anton Armendariz Diaz and the accompaniment by Alla Milchtein. Was there an opera ready to spring forth? Perhaps, but at the very least we hope Ms. Bell will "take this show on the road". Anyone who loves opera will share in our delight.

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TRANSATLANTIC RISING STARS

 Enrique Torres, Lonwabo Mose, Pablo Puertolas, Sophia Baete, Lucia Iglesias, Angel Raii Gomez, Yasmin Forastiero, and Laura Santamaria

Has it really been a year since Musica Viva NY gifted us with a recital of talented young singers from Madrid, shared with us by Teatro Real's Crescendo program! This year they returned and were joined by young singers from their counterpart in New York City -- the Lindemann Young Artist Development Program of the Metropolitan Opera. Both programs give emerging artist of great talent and promise the opportunity to grow into their full potential. We consider ourself to be a citizen of the world and love the fact that opera is such an international art form.

The audience packed into All Souls on the Upper East Side and gave these Rising Stars the accolades they deserved. The program joined young artist from both programs in a kind of mix and match that gave the young artists an opportunity to share scenes in a new way and to experience new collaborations. We will identify each artist with an "L" for the Lindemann Program and a "C" for the Crescendo Program.

For no other reason than our deep appreciation for zarzuela, let us first mention baritone Enrique Torres' (C ) performance of "Luche la fe por el Triunfo" from Luisa Fernanda by Federico Moreno Torroba. This 20th century work was one of the last romantic zarzuelas to be written and is still beloved and oft performed, although not often enough for our taste. In this aria, the noble Vidal shows his true character. Similarly, Mr. Torres showed his true talent, both vocally and dramatically. We have heard this aria before but never sung by a Spaniard. To our ears it seemed to have more sazón.

Making a similarly strong impression on us was Argentinian mezzo-soprano Yasmin Forastiero (C ) whose interpretation of "Mon coeur ouvre a ta voix" from Saint-Saëns' Samson et Dalila taught us something new about seduction with her stately and composed bearing and vocal coloration. A confident woman does not need provocative gestures; rather she invites a man to participate in something mysterious and promising. We love it when a performance helps us to see something in a new way! Furthermore the French was fine and fluid. 

We were happy to hear her French again in the duet from Massenet's Werther in which two sisters with very different personalities combine voices in equally fine French. In "Bonjour, grande soeur" Ms. Forastiero's calm aspect as Charlotte contrasted with the lively soprano of Lucia Iglesias (C ) as Sophie. As different as they seemed the two singers conveyed a sympathetic sisterly understanding.

Ms. Iglesias' sparkly soprano was just perfect for "Ah, je veux vivre" from Gounod's Romeo et Juliette. Her petite frame and ease with the upper register made her a most believable and engaging heroine. She scaled the vocal heights with ease and made good use of the entire stage.

We do love duets and we were happy that the program included "Au fond du temple saint" from Bizet's Les pecheurs de perles. It is admittedly a rather silly opera but this duet is a fine showpiece for male voices in harmony. The role of 

Nadir was performed by tenor Pablo Puertolas (C ) who earlier employed a pleasing vibrato in a lovely aria from Cilea's L'Arlesiana --"É la solita storia del pastore". The role of Zurga was well sung by Mr. Torres and the voices harmonized beautifully.

 Sophia Baete (L) a "home team" mezzo-soprano, was particularly persuasive as the sympathetic Dulcinée in Massenet's Don Quichotte . In Act IV, she lets the Don (Lonwabo Mose) down with the tender "Oui, je souffre votre tristesse". She also impressed us with "Must the Winter Come So Soon" from Barber's Vanessa which she imbued with a chill feeling of isolation.

Mr. Mose (L) got an opportunity to show off his low resonant baritone in an aria from Mozart's Le nozze di Figaro -- "Non piu andrai" in which the eponymous hero teases the naughty Cherubino. His apt gestures joined his vocal expertise to create the personality of the all too resourceful Figaro.

Mozart's masterpiece has so much to offer! We had even more magnificent Mozart in the ensemble "Riconosci in questo amplesso" in which soprano Laura Santamaria (L) as Suzana gets to slap her intended bridegroom Figaro.  But it was in "O mio babbino caro" from Puccini's Gianni Schicchi that we got to appreciate her fine instrument and lovely phrasing as she works her wiles on her father.

Before running out of space let us applaud the daring delivery by tenor Angel Raii Gomez (L)  "Ah! mes amis" from Donizetti's La fille du regiment, a true showpiece that always has the audience holding their collective breath waiting for the volley of nine staggering high C's.

There were several fun ensembles and some fine piano accompaniments by Carlos Alfonso Ferri (C ) and John Morefield (L). We got the sense that these young artists got as much pleasure out of the trans-Atlantic collaboration as we did in hearing the splendid results. We feel grateful to Musica Viva NY for making this happen. We can barely wait to learn what they have in store for next year!

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MARIO, MARIO, MARIO!

Pianist Max Lifchitz and tenor Mario Arévalo

When we attend a concert and never glance down at the program, it means that the performance has occupied our entire attention. What a rare and special experience that is! Last night at the National Opera Center we were enthralled by the performance of El Salvadoran tenor Mario Arévalo whom we have not heard in several years since he left New York City for Miami.

We first heard Mr. Arévalo as a Goodwill Ambassador for Fine Arts and Culture for the United Nations Association of El Salvador. We recall some exciting Pan-American celebrations involving colorful costumes, exciting rhythms, and tuneful melodies--all of which mark the music of our southern neighbors. This admirable musician is known for his arts initiative Una Voz, Un Mundo which advocates cultural diversity (a goal we share) and provides musical instruments for low income youth.

But that is not what we were thinking about during his performance. We were totally immersed in the music without for a second thinking about the academic points we usually write about. We were swaying with the rhythms and tuning in to the feelings that Latin American music evokes. Part of this must be credited to the beauty of the Spanish language with its pure vowels. Another part relates to the Latin American avoidance of 20th century academics which robbed music of its melodic structure. Still more credit goes to the heartfelt lyrics; no prosy intellectualism here! No lectures or philosophizing, just pure emotion.

Of course, one needs a singer with soul who can take advantage of these qualities and, in Mr. Arévalo, this glorious music has found a fine interpreter. He is an artist who pours his entire soul into the music! Most of these composers were new to us and it wasn't until we heard "Damisela Encantadora" by the Cuban composer Ernesto Lecuona that we felt ourself to be on familiar ground. We confess that the romantic adoration expressed by the lyrics left us a bit weak in the knees. Fortunately we were sitting down!

Even more familiar was the tender waltz "La rosa y el sauce". from the Argentinian composer Carlos Guastavino. It is a sad tale of a rose, beloved by a willow tree, plucked by a coquettish girl who is heedless of the pain of the willow. We suppose that is why we speak of the "weeping willow" in English. The symbolism is inescapable and anyone whose love has been stolen can relate to the mournful melody. The program ended on a fine note with "Jurame"  a familiar passionate song by the Mexican composer María Grever. We never tire of hearing it and it was a fine way to end a recital that held our interest from beginning to end.

Before ending, we would like to share with you some of the other Latin American composers we heard for the first time--Pedro Elias Gutierrez, Mario Chacon, Jaime Leon, Carlos Colon, Pancho Lara, and Isabel Chabuca Grande.

We would also like to mention that the accompanying pianist Max Lifschitz, born in Mexico, was completely in tune with Mr. Arévalo and furthermore shared some of his own compositions, giving our tenor an opportunity to ditch his formal attire (a tailcoat!) for a semi formal tuxedo.

We hope Mr. Arévalo will not wait another few years to return to New York City! We need more Latin American music!

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CLASSIC LYRIC ARTS END OF SUMMER GALA

 

Graduates of Classic Lyric Arts Summer Programs

Autumn has just arrived but the graduates of CLA's summer programs are still glowing with the excitement of their artistic growth, achieved by constant expert tutelage and total immersion in the languages of opera. Two programs in Italy and one in France struck us as "finishing schools". Of course opera singers are never "finished"; even the greats continue to take lessons and coaching sessions. Perhaps it would be better to think of these summer intensive trainings as a "polishing" --and indeed these young singers are all gems!

Last night's event was just one of several we plan to attend during the course of the academic year. This particular one was a private event for donors and we dare say that the enthusiastic faces of the select audience revealed no small measure of satisfaction in the results of their generosity. This seems to us a win/win situation! Glowing faces and smiles on both sides of the virtual curtain.

In a scene from Act I of Bizet's Carmen , we enjoyed Daisy Dalit Sigal's enactment of Micaëla in perfect French diction (something CLA emphasizes). Her instrument has a fine vibrato which we noticed in her speaking voice as well when we chatted after the recital. Her Don José was Carter Bonyeop Gu who evinced a pleasing tenor. We were happy when he reappeared later in the program in "La fleur que tu m'avez jetée" showing a different side of the character's personality as he addresses two very different women.

It is not unknown for the role of Carmen to be sung by a soprano and we would love to witness Nicole Magallon in that role but we will have to wait for another recital. Last night she presented a very flirtatious character in Satie's "La diva de l'empire" and later employed her vibrant personality in the role of Adina teasing the Nemorino of Thomasluke Florez-Mansi in the duet "Chiedi all'aura lusinghiera" from Donizetti's L'elisir d'amore. This scene was cleverly staged by Daniel Isengart who is on the faculty of CLA.

Mr. Florez-Mansi's fine tenor reappeared as he brought Ferrando to vivid life singing the lovely aria "Un aura amorosa". from Mozart's Cosi fan tutte. We liked the sustained pauses between the verses and a graceful downward arpeggio.

Soprano Weiting Xu had two chances to impress us and succeeded both times. She made an absolutely delightful Fairy Godmother in Massenet's Cendrillon and charmed us again in "Duet et Tango" by Dédé, sung with Luke Randazzo who also performed "Riez, allez'' in which Sancho Panza berates the crowd for ridiculing his master in Massenet's Don Quichotte. Both roles were well sung in fine Gallic style.

Soprano Estelina Syla (whom we remember from her undergraduate days) also had two chances to dazzle our ears. The first was Mimi's bittersweet farewell to Rodolfo "Donde lieta usci" from Puccini's La Bohême. We could actually see the snow falling in this sad scene. Another one of Puccini's "piccole donne", Cio-cio San in Madama Butterfly was shown in the Act I love duet "Vogliatemi bene" performed with Fernando Silva-Gorbea whose tenor instrument is so large and strong in the lower register that we are tempted to call him a baritenor.

The very beautiful Maia Sumanaweera sang a beautifully importuning "O mio babbino caro" emphasizing Lauretta's  innocence rather than the manipulation in Puccini's Gianni Schicchi.

And last but not least, in a departure from the Franco-Italian emphasis of the evening we heard George Jiayi Baolin sing "In diesen heil'gen Hallen" from Mozart's Die Zauberflöte.The tessitura is very low but Mr. Baolin rose to the demands (or should we say "descended").

Let u give credit to the fine collaborate pianists who are similarly trained in the summer programs--JunBeom Park, Luka Marinkovic, and Daniel Farah. 

What a fine showing these young artists made. We realize that the CLA programs include lots of performances for the locals in France and Italy and we have always felt envious. Now we no longer need to experience envy since we got the full monty, as they say.

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AN EVENING WITH AMERICAN CLASSICAL ORCHESTRA

 Maestro Thomas Crawford conducting the American Classical Orchestra

featuring soprano Shelen Hughes Camacho

(photo by Matt Dine)

There were so many worthwhile things going on Thursday night at Alice Tully Hall that we scarcely know where to begin. First of all, the evening was musically satisfying. Secondly, we received a rather generous lesson in music appreciation from Maestro Thomas Crawford. And finally we had the pleasure of hearing one of our favorite sopranos taking part in Franz Joseph Haydn's Lord Nelson Mass, along with three other fine singers.

We rarely review orchestral music, as much as we enjoy it, because we barely have time to cover vocal events, which is our main mission. Learning that Shelen Hughes Camacho was singing encouraged us to step out of our "fach", We began writing about this preternaturally gifted young singer when she was a student at Manhattan School of Music and have reviewed her often in the genres of opera and lieder, and witnessed her winning awards at several opera competitions. This was perhaps the first time we hear her singing sacred music in Latin.

Sacred music would never be our first choice in vocal music and it has only been Fauré's Requiem and that of Verdi that had any appeal for us. However, it was a revelation to us to hear Haydn's Mass in D Minor for the first time. What astonished us was his gloriously florid writing for the voice which put him right into bel canto territory. Regardless of what other folk consider spiritual, our feelings for what is greater than mankind are wrapped up in the glory of the human voice.

And so it was, to our astonishment, that we took enormous pleasure in the performance. There is nothing Ms. Camacho cannot achieve with her warm instrument, clear diction, apt phrasing, and skill with fioritura. The other singers were new to us and deserve highest praise. The alto parts were taken by Helen Karloski; the tenor was Steven Soph, and the bass was Edmund Milly. We would be happy to hear more of them.

For this first half of the program, we were focused mainly on the voices but in the second half of the program we were able to give our full attention to the orchestra and Maestro Crawford's expressive conducting. He used his arms and hands in a most specific manner and pulled from each section of the orchestra exactly what he wanted.

Before the concert even started he did a fine job as educator, teaching us audience members exactly what to listen for. We are accustomed to long academic program notes that fly way over the head of most concert goers. His verbal tutelage was, by contrast, relaxed and conversational; the level was just right for an audience that knows the basics like key changes and the difference between major and minor.

This wasn't the first time we listened to Beethoven's First Symphony but it was the first time we really heard it. We were well prepared for the composer's audacious and rapid travel through various keys in the opening bars and we understood why the third movement Menuetto can be considered a scherzo. Those were just a few of the many suggestions offered for what to listen for. We had only one cavil, as we always do. It would have been better to have discussed the Beethoven right before it was performed, rather than describing it at the opening of the concert when we were focusing on the Haydn.

Aside from that very small complaint we were completely satisfied with the program, the education, and the fine performances. Compared with some rather stuffy and pretentious nights at Carnegie Hall and whatever they are currently calling the Philharmonic Hall at Lincoln Center (sorry if that sounded snarky but we just cannot keep up with the "politically" motivated name changes), our night at Alice Tully Hall had us walking home in a state of bliss. We doubt that we were alone in our appreciation. The applause was thunderous and the audience left smiling and animated. We are happy to report that Maestro Crawford will be conducting all nine of Beethoven's symphonies!

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NAUMBURG AND WAGNER HONORING EACH OTHER

 Erin Wagner

(photo by Jiyang Chen)

In a world in which artistic organizations come and go, in which artistic missions are altered to suit changing tastes, and in which new institutions are mere flashes in the proverbial pan, it is reassuring to know that Naumburg Orchestral Concerts has been providing free outdoor concerts for New York City concert goers for a record 121 years! This is the oldest free concert series in the world! 

That inclement weather drove Monday night's concert indoors took nothing away from the experience. St. Mary's church in the Theater District is not only capacious but visually artistic. The space was filled to capacity and a large clutch of disappointed would be audience members were sadly left outdoors.

And what a concert they missed! This was not  the first time that the venerable Orchestra of St.Luke's was invited to perform at the Naumburg Concerts and it was a most fortunate choice. Under the baton of Maestro Brad Lubman, a program of Mozart works was scheduled, offering works from his teenage years all the way through to his mature works.They were perfectly suited to the outdoor venue of the Naumberg Bandshell in Central Park but, by virtue of some superb performances, survived the steamy atmosphere inside the church whilst nasty thunderstorms raged outside. 

The Naumburg Concerts historically presented vocal music at a time when opera was all the rage. To our delight, that tradition was preserved at this performance by the welcome presence of Erin Wagner, a singer we much admire and whose career we have documented from her undergraduate days at Manhattan School of Music, through her winning of multiple competitions. 

 Five years ago, Ms. Wagner won the Walter Naumburg International Competition. Listed on the program as a mezzo-soprano, a fach by which we know her, we were puzzled as soon as we opened the program. Her selection of Mozart arias did not include the expected "Parto, Parto" but did include the moving "Porgi amor" from Nozze di Figaro!

We managed to find Ms. Wagner backstage during intermission and heard the news from her directly. There is a change of fach in progress and we are totally on board with it.  Without benefit of costume or set, Ms. Wagner conveyed the pensive and pleading tone of the abandoned Countess Almaviva from Nozze di Figaro with all the artistic subtlety the aria demands. Cherubino's aria "Voi che sapete" was delivered with totally different coloration, just as one might expect from a hormonal youth. Both characters are lovelorn but in different ways.

By contrast, "Tutte nel cor vi sento"  from Idomeneo is an expression of  Elettra's jealous rage, all of which came through loud and clear.  It was illuminating to hear the artist create three different characters in three different situations. Several  concert arias completed the set and the artist graciously acceded to the audience's demands for an encore.

The remainder of the program showed the range of Mozart's talent from his teenage forays Divertimento in D Major, K 136 and Symphony No. 21 in A major, K. 134 to his mature Eine Kleine Nachtmusik, K. 525 of l787 which was our favorite instrumental work on the program. We certainly got the point that Mozart was a master of the sonata-allegro form but the final piece showed off his melodic mastery and left us humming the tunes,a situation which regular readers know is one of the things we most appreciate about music.

We wondered how many  people in the audience were aware of the energetic fight to preserve the Naumburg Bandshell from demolition several decades ago. Fortunately Elkan Naumburg's plan to democratize musical performance has been preserved. The story is well worth your attention, not only the story of the building of the bandshell and its history but also the story of the initiator of the concert series and the involvement of his family.

 There are even connections  with Walter Damrosch and Marcella Sembrich whose vocal foundation has benefitted so many young singers. Even the story of the architecture of the Naumburg bandshell is fascinating. Indeed we are happy that it was preserved!

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IL TURCO IN ITALIA

 Hans Tashjian and Mattia Venni

Fun and frivolity ruled the evening as Maestro Will Crutchfield brought the all-too-brief Teatro Nuovo season to a stunning close with an effervescent production of an opera that we might otherwise never have seen. We heard the title and wrongly assumed that this opera would be Rossini's send up of his own L'Italiana in Algeri. Far from it. As a matter of fact, the unfortunate title may have contributed to the opera's lukewarm reception at La Scala and its fading from the canon.  Nonetheless, it was a stunning freshman work by a 22-year-old Rossini who had already enjoyed a number of successes!

As Mo. Crutchfield pointed out in his pre-performance lecture, Rossini's works are marked by symmetry of form and an architecture of proportion, as well as by a rather cold-eyed and cynical view of human nature. They are also marked by bubbly melodies with impressive embellishment of the vocal lines. It is a given that one leaves humming the melodies although maybe not with the fioriture!  If he cribs from his other operas and one is momentarily transported to a different Rossini opera, you will not hear us complain.

Crutchfields' notes in the program are always instructive but never vain attempts at justifying a director's arrogant "interpretation". The works are allowed to speak for themselves and need no justification. If you might have missed some parallels between librettist Felice Romani's manipulative poet Prosdocimo. (Hans Tashjian) and that of DaPonte's Don Alfonso in Mozart's Cosi fan tutte, Maestro prevented that from happening. This is what we want to read or to hear in a lecture.

However, none of this information could be considered necessary to the enjoyment of this piece of musical fluff and our pleasure was echoed by the generous applause and standing ovation it received.

The dramatic device which sets it apart is the use of a character representing the librettist who directs the action of the characters onstage and also addresses the audience directly, a kind of "meta" situation.  The story he is directing involves a very flirtatious wife named Donna Fiorilla (Kresley Figueroa) married to an older wealthy man named Don Geronia (Mattia Venni). She has a "side piece" named Don Narciso (Max Alexander Cook) and she uses her seductive wiles on a visiting Turkish prince named Selim (Vincent Graña) driving her husband into fits of despair and hilarious helplessness. Meanwhile... Selim is being pursued by a former slave named Zaida (Sabatina Mauro) who has joined a ban of gypsies (thereby providing a chorus).  Are you laughing yet?

Of course it is silly but there is room in the world of comedy for just this kind of silliness especially when the delicious music amplifies it. The singing was superb all around and there was not a weak link in the chain of performance. Ms. Figueroa was particularly engaging and sufficiently beautiful and sexy to be convincing in the role. Mr. Venni's physical comedy was over the top. Mr. Tashjian's portrait of a kindly, creative, and inventive storyteller pulled it all together. Let us not fail to mention David Freides whom we heard the preceding night at the pre-performance recital in which his vocal gifts shone like a beacon. His role in this opera might have been small (Albazar, a Turkish friend of Selim and Zaida) but he acquitted himself nobly in his 2nd act aria.

As was the case the prior evening, the projected slides of Adam J. Thompson served admirably, representing the Naples waterfront and Don Geronio's lavish home.  We never missed the costuming because the (uncredited) direction was so astute. The story just swept us along on a wave of melody.

We were further impressed by Elisa Citterio who served as Capo d'Orchestra and also Primo Violino, excelling as both. Maestro al Cembalo was Derrick Goff and, as usual, Mo. Crutchfield was Maetro del Coro.

Let us not fail to mention the Pre-opera Serenade devoted to music by the legendary Garcia family. Our favorite piece was a trio by Manuel Garcia--"Senti, che ognun ti chiama" performed a cappella by soprano Brittany Rose Weinstock, tenor Justin E. Bell, and baritone Jason Augustus Rober.

AFter two satisfying evenings spent with Teatro Nuovo, we can say without reservation that they are the jewel in Manhattan's opera crown. Would that they would produce many more operas during the year! They might rescue our "small town" from its opera doldrums.

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BRINGING BACK THE "IL"

 Kevin Spooner and Ricardo José Rivera

(photo by Steven Pisano)

Personally, we enjoy some education along with our entertainment and that is the reason we hold Teatro Nuovo in such high esteem. Maestro Will Crutchfield is valued for the extensive research he does into bel canto opera in much the same way as Opera Lafayette reveals the treasures of the 18th century. Last night the Rose Theater (Jazz at Lincoln Center, which is actually in the Deutsche Bank Center, née Time Warner Center) was the venue for an exploration of Mozart's timeless Don Giovanni, which first saw light of day as Il Don Giovanni in 1787 in Prague.

Restoring the "Il" was a device meant to establish that we were seeing this superb work through fresh eyes, the eyes of the Garcia family, a family which brought opera to New York City in 1826 at the behest of Mozart's librettist Lorenzo DaPonte who created a new edition. The opera was enthusiastically received by both the 19th century audience at the Park Theater and last night's audience at the Rose Theater.

There was an enormous amount of scholarship involved in researching performance traditions, editing, scoring, and blowing the dust off this masterpiece that contemporary audiences have taken for granted. One was obliged to listen with an open mind and thirsty ears, of which ours were thrilled to hear ornamentation galore and charismatic cadenze.

Mo. Crutchfield's pre-performance lecture stressed the investigative approach, making th4e point that opera was a combination of score plus performance. His talk was so full of ideas that we yearned for a written copy so that we could consider his ideas at leisure, but his talk was extemporaneous as only an expert can produce and woe to those who cannot keep up with a mind like his. We did our best, Dear Reader, we did our best.

It was during the performance that we were best able to appreciate the efforts. Here was the famous story of the reprobate Don (Ricardo José Rivera) and his coming to a well deserved end. Here was the story of the somewhat faithful servant Leporello (Kevin Spooner) who put up with his master's abuse for money. Here was the story of the devoted Donna Elvira (Sedona Libero) who couldn't stop trying to reform him. Here was the story of Donna Anna (Elizabeth Novella) who finds out eventually that the man who tried to rape her also killed her father. Here was the story of the easily swayed peasant Zerlina (Simona Genga) who learns almost too late how evil the Don is and how she would do well to make it up to her bridegroom Masetto (Noah B. Rogers).

We also have a Don Ottavio (Martin Luther Clark) who wants to wed Donna Anna and wavers between supporting her and getting angry at her putting him off. And then there's the victim of the Don's mayhem, the Commendatore (Daniel Mobbs) who gets his revenge.

So, the characters are all there and, we believe, all the arias we love except Don Ottavio's oft-omitted "Dalla sua pace". We relished every single embellishment of each character's vocal line and we believe that the rest of the audience did as well, judging by the thunderous applause.  If other elements were discarded we did not miss them. What we did miss was the finale, the ensemble in which all the surviving characters sing about their future plans. Indeed, if Mozart intended this as an opera buffa, or dramma giocosa, it felt abrupt to end with the Don writhing on the floor.

A few words about the production values--we had the impression that the artists directed themselves. Don Giovanni and Leporello had a nice rapport and Donna Anna was totally convincing in her sorrow, her resolve, and her attempts to placate Don Ottavio who mostly did not connect with her. Although the staging of the first scene and the duel was a bit clumsy, subsequent scenes worked far better. 

In lieu of sets we had projections by Adam J. Thompson which served well. The only "stage furniture" appeared during the final scene for Don Giovanni's dinner --it was not missed. However, we do take exception to the costuming, or rather the lack of costuming. This was not a concert version with music stands and so we would have liked at least a suggestion of class differential; having the peasants attired in streetwear would have been a cost-free way of emphasizing their status. Having the entire cast in formal wear was jarring.

But less us get on to the most important issue, that of musical values. Maestro al Cembalo Geoffrey Loff performed his role with enthusiasm and artistry, keeping the performance moving along at a brisk pace whilst giving the singers room to breathe and enjoy their respective fiorature. As is customary with Teatro Nuova, the musicians are arranged so that they can see each other. Having heard from a few conductors we know that the best place to sit was as close to the conductor as possible, we took the advice and were glad we did. At no time did the orchestra drown out a singer.  Well done, Maestro!

We might mention the pre-performance recital of works by the scion of the aforementioned Garcia family. And what a family they were, including daughters Pauline Viardot and Maria Malibran. The program was narrated by Resident Artist Timothy Cheung. and we wished he had spoken to the audience instead of reading. His accompaniment however was excellent. Catching our attention by beauty of voice and interpretation was tenor David Freides' performance of Garcia's cancion "Cuerpo bueno, alma divina" .

Tonight, Teatro Nuovo will offer Rossini'a rarely seen Il Turco in Italia. We are eager to see and hear what Mo. Crutchfield has to tell us and what the company will show us. We hope to see you there, Dear Reader.

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COMEDY TONIGHT TIMES TWO

    

Marc Martinez, Colin Safley, Angela Scorese, Yong Hoon Lee, Victor Jaquez, and Melissa Perry

Lately we have been mourning the loss of the many small opera companies that we wrote about B.C. (before Covid). So, Dear Reader, imagine how excited we felt when learning about a new company. Perhaps the drought is over! It takes courage to plunge into the scene and Director Natan Zamansky seems to have gotten things off to a good start with Opera Picciona.

We thought the name of the company might have been a paradoxical neologism derived from the Italian word for small (piccolo) given a contradictory  ending that suggests grand size. Or was it named for the New York City bird we love and hate--the pigeon?  No matter!  Mr. Zamansky has avoided the trap of presenting grand opera on a diminutive scale, drawing unhelpful comparisons from his audience. Instead, he has chosen two complementary one-act operas of a lighthearted nature, operas that many have not seen/heard before.

Bastien und Bastienne, Mozart's early attempt at opera, written as a pubertal 12-year-old (and what's YOUR 12-year-old up to?) is a comedy in the sense that it has a happy ending whilst Jacques Offenbach's early operetta Le 66 is, under Mr. Zamansky's direction, laugh-out-loud funny.

The Mozart piece served as opener and the cast of three tackled their parts with relish. The story is a simple one in which a couple is reunited after a period of estrangement. There is a great deal of pretense between Bastien, the shepherd with a roving eye (tenor Yong Hoon Lee) and his sweetheart Bastienne, a rather innocent and lovelorn shepherdess (soprano Melissa Perry).  This pretense would be as familiar today as it was in the 18th century. A "sorcerer", actually a wise older fellow named Colas (bass Victor Jaquez), counsels the young lady to pretend indifference to win over her erstwhile lover.  After much pretense, the lad rises to the occasion and, to quote the Bard, "All's Well That Ends Well". 

There is nothing original in that story but Mozart's charming music and some fine vocalism made for a pleasant hour. Additionally, Mr. Jaquez' comic antics overcame the challenging staging in which "offstage" was achieved by singers hiding behind two black screens, since there was no place to go in the otherwise satisfactory performing area.  The acting during the musical numbers was fine but we wished for a bit more stage business during the "downtime".

There were no such lulls in the Offenbach which followed after the intermission. Perhaps Mr. Zamansky devoted more directorial effort to a work that generated genuine laughs. He had at his disposal a trio of singers who not only sang well but who also evinced an understanding of comic timing, making use of both facial expression and bodily gesture.

The story, although not as timely as the Mozart romance, concerns a couple hiking through the Austrian alps.  Grittly (soprano Angela Scorese) and Frantz (tenor Mark Martinez) are working their way through the alps by singing and playing their guitars (in this case, ukuleles) on their way to Strasbourg to console Grittly's sister who is grieving her husband's death. A dramatic device of an upside down lottery ticket leads to some laugh-out-loud situations with a peddler (baritone Colin Safley), some funny costume changes, some tension between the two wandering minstrels, and a deus ex machina ending that leaves everyone happy.

The story is just as silly as other Offenbach operettas but it provided the opportunity for some charming duets and trios, some Bob Fosse-like choreography, and the clever repurposing of some boxes to create the illusion of mountaineering.

No one is credited with costuming or props but creativity can compensate for lack of resources and so it did. We value good singing over lavish scenery and professional costuming.

As enjoyable as the singing was the performance of the score by an octet of musicians, half strings and half winds. Music Director Eric Peterson provided fine background for the singing.

The spoken dialogue in Mozart's singspiel and Offenbach's operette were easily understood by those of us who are familiar with German and French and for those who were not, projected titles were legible, unlike those of other recent performances we have attended.

Before closing we would like to point out the excellence of the Director's Notes, a sample of which were in the printed program and the more elaborate comments which were available electronically. No arrogant justifications for directorial narcissism, just academically interesting information that made for some good reading.

If you are unable to snag tickets for the rest of the run, at least you can consider yourselves advised to watch out for Opera Picciona's next venture. We certainly will!

© meche kroop

 

A SECRET LOVE

 Alexandria Crichlow, Gabriel Hernandez, and Eric Viñas

(photo by Russ Rowland)

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.

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A VICTORIAN GOTHIC

 Kyle Decker Pitts as Dr. Jekyll and Mr. Hyde

(photo by Brian Long)

We have spent entirely too much time searching for a typeface that would do justice to the darkly Victorian spirit of the compelling show we wish to tell you about. The spookier typefaces we tried were just not legible so let us just pretend. We don't want to waste any more time in urging you to try to grab one of the very few remaining seats to a performance that left us in utter admiration of its creativity.

The show, whilst not an opera, is operatic in scope. The Curious Case of Dr. Jekyll & Mr. Hyde was a novella written by Robert Louis Stevenson in 1886 and adapted by the polymath Whitney E. George; it was performed as a melodrama with intense music (composed and conducted by Maestro George herself) and stunning visual effects (by Orsolya Szánthó). Excellent period costuming was also achieved by Mo. George (with help from the Theatre Development Fund).

Even if one is not a fan of Victorian Gothic melodrama one would find the telling of this tale to be compelling and the staging original. In a feat of trompe l'oeil, what appeared to be a complex set design was achieved by a doorway center stage flanked by two "rooms" upstage which were suggested by skewed rectangular frames, each behind a scrim, one representing Dr. Jekyll's laboratory and the other an office. A simple chair with an old-fashioned gramophone stood downstage. The staging area included stairways up to and including a wraparound balcony lending an immersive feeling to the work. 

Lighting was created by Sierra and projections by Orsolya Szánthó, who also created the set design. The entire affair was co-directed by Mo. George and Attilio Rigotti, who also played the part of Utterson. Obviously everyone seems to have multiple talents and are presumably members of The Curiosity Cabinet, listed as Producer.

The acting was on point, just  sufficiently melodramatic for the audience to appreciate the historical period. The eponymous hero/villain was played by Kyle Decker Pitts with his friend Utterson played by Mr.  Rigotti. Maayan Voss de Bettancourt made quite an impression as narrator, slipping seamlessly into several other roles. Blake Friedman also assumed several roles. It was difficult to accept that all this drama had been created by three actors!

Mo. George's music was original and often spooky and served a similar mood enhancing function as a film score. Indeed there was a filmic quality to the piece, reminding us of film noir. Joined by a violin, a flutist stage left seemed to be playing instruments of different registers, . Out of sight was a percussionist who provided all manner of sounds and sound effects. A cello was listed on the program but we did not see. 

It was altogether a stunning evening of theater and about as long as a film and no longer than was necessary. As is customary we always mention a "quibble" and here it is. It is just our preference for natural voices, not just for opera but also for theater. There is a texture to amplification that our ears do not like. We were sitting very close to the musicians and found that the "incidental" music, which was anything but incidental, often drowned out the words of the actors.

Even with that reservation, we still found the work original, artistic, compelling, and satisfying. If the psychiatric illness of multiple personality disorder was recognized in the late 19th century we know not; but we suspect that the import of the novella was the exploration of the dual nature of mankind. Whichever way you take it, you will be marvelously entertained.

© meche kroop

COMPRESSED, CHILLING, AND CONTROVERSIAL

 

Mary Phillips, Kelsey Lauritano, Freddie Ballentine, and Inna Dukach

(photo by Russ Rowland)

Heartbeat Opera's stripped down version of Samuel Barber's Vanessa is, we believe, the only opera ever presented at the Williamstown Theatre Festival. To us, this makes perfect sense. Under the direction of R.B. Schlather, Gian Carlo Menotti's dark exploration of psychological themes, some overt and others merely hinted at, became intensely theatrical. 

That is not to shortchange the music. Dan Schlosberg's arrangement of Barber's  pungent score for seven instrumentalists filled the Nagelberg Theater at Baruch with more than enough sound and uncommonly interesting textures evoked by Maestro Jacob Ashworth by means of intensity and clarity.

The singers were astutely cast with soprano Inna Dukach creating an almost bipolar Vanessa whose voice lightened in color as she anticipated a most unlikely happy future with the narcissistic Anatol (the Younger), portrayed with serpentine intensity by tenor Freddie Ballentine. In a performance that led us to think that the opera might just as well have been called Erika, mezzo-soprano Kelsey Lauritano commanded the stage in a role that seems to have been enlarged to encompass her larger than life talent. Indeed, the most famous aria of the work "Must the Winter Come So Soon" was cleverly reprised at the end.

Since our experiences with Ms. Dukash had been confined to a few badly amplified outdoor performances, her vocal and dramatic success came as a pleasant surprise. On the other hand, we reviewed Ms. Lauritano's performances at Juilliard more than a dozen times over ten years ago and we were particularly glad to hear and see her again. (One of the sad things about our work is that we get quite attached to promising young singers and then they leave for parts unknown to develop their careers because New York City has so little to offer.)  How wonderful that Heartbeat Opera has recognized her many gifts.

The same could be said for baritone Joshua Jeremiah whom Heartbeat Opera has included in their Hallowe'en drag extravaganzas and who created a marvelous character for On Site Opera several years ago. Creating memorable characters must be Mr. Jeremiah's specialty since his creation of the character of the bibulous Doctor was memorable. His baritone is as rich and full as one would wish for and his charming performance lightened up what amounts to a very dark opera.

Mr. Ballentine is new to us and he impressed with his tenor instrument and the way he colored his voice to show his character's opportunistic and manipulative character. There were some scenes of his making love to Erika that seemed a bit over the top

Not having much to sing, the excellent Mary Phillips commanded attention as the Baroness with her stoic bearing and facial expression which was in such contrast with all the histrionics going on with her daughter and grand-niece. The great mystery of the plot is her silent treatment towards Vanessa in the beginning and toward Erika at the end. Is she just sitting in judgment of their poor romantic choices? We found ourself wondering whether Erika was actually Vanessa's daughter conceived at the time of Vanessa's dalliance with Anatol (the Elder)! So perhaps The Baroness disapproves of out of wedlock pregnancy.

Forgive us Dear Reader for not outlining the plot but, since there have been so many reviews since the opening that we are just assuming you know the story which is not only noir but also psychiatrically compelling.

Mr. Schlather has trimmed the opera of its extraneous characters and stripped the story down to the neurotic behavior of the three women. The Baroness has been giving her daughter the silent treatment for 20 years. Now how rigid is that!!!  Vanessa has apparently had a sexual relationship with a married man and has been living a fantasy for twenty years--two fantasies actually--one that her lover will return and another that if she keeps the mirrors covered she will not age. Now how delusional is that!!!  Poor Erika suffers from youthful naivety and submits readily to the narcissistic charm of the man who invades this female territory; this puts her in the position of capturing her "mother's" lover, a kind of Elektra situation.

Jiaying Zhang has given Mr. Schlather the set design he wanted. Simply a minimalistic solid white background onto which Lighting Designer Yuki Nakase Link has projected ominous shadows. Terese Wadden's costumes for the women are all black. The exchange of roles at the end is signified by Erika wearing Vanessa's dress and pearls. In the original telling, Erika covers all the mirrors to show that she was taking over Vanessa's role. Without a manor house and mirrors, the costume exchange got the point across.

Although we have been highly critical of Heartbeat Opera tampering with the classics that we love, operas that are rooted in time and place, we seem to not care what they do with operas in which we have no emotional investment. We only saw Vanessa once years ago and we didn't love it. Frankly,we still don't! However, it certainly was an interesting night of theater.

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A TASTE OF POLISH CULTURE

 Katelan Trân Terrell and Magdalena Kuzma

 Last night under the watchful eye of Tadeusz Kosciuszko, whose portrait hangs in the grand second floor salon of The Kosiuszko Foundation, we experienced a completely fulfilling vocal recital performed by Magdalena Kuzma, a singer who has been reviewed here a number of times, ever since her fortuitous apprenticeship at Santa Fe Opera. Since then, she has been winning prizes from many prestigious foundations including the Marcella Sembrich Foundation, The Gerda Lissner Foundation, and the George and Nora London Foundation. We have heard her sing in Polish, Russian, German, French, Italian, Swedish and English. What we enjoy most are the Polish songs because we rarely get to hear them.

About Ms. Kuzma's instrument, it is large and lustrous, readily filling up the room with ringing overtones. However, it is the way she employs this instrument that dazzles the ear.  First of all, there is the way she shapes the vowels, no matter how consonant heavy the language. Yet, the consonants are crisp and never cheated. This is a kind of vocal legerdemain that we cannot explain. Each vowel is savored as if it had its own unique flavor.

And then, there is the phrasing, always apt, always musical. Still, most important from our point of view, is the storytelling.  Ms. Kuzma gives the appearance of losing herself in the drama, belying the fact that every expression and gesture must have been arrived at with forethought, intention, and diligent practice.

A pair of songs by Chopin impressed us as much as his Nocturnes. "Wish" was simple and tuneful whereas "Spring" gave us the flavor for which Chopin is so well known--the melancholy that creeps into an otherwise happy mood.

Szymanowski's "Consider well, mother" was a highly dramatic song in which a young woman seems to be reasoning with her mother over what might have been an unwanted arranged marriage. Her beauty is transitory and she seems to want to make her own choices. Forgive us, Dear Reader, if our imagination has taken over! Let's blame it on Ms. Kuzma's dramatic intensity causing us to invent an entire backstory!

Exceeding the rest of the program in dramatic intensity was Halka's Act IV aria from the eponymous Moniuszko opera, the plot of which reminds us of a plot from a zarzuela. A peasant girl has been promised marriage by a nobleman and impregnated. The squire will marry an aristocratic woman. The girl, after contemplating a horrific revenge, endures a change of heart and kills herself. A reading of the plot does not indicate that she gives birth but in the aria she sings to a child (perhaps still in the womb?). Our fine soprano did an admirable job of illuminating Halka's grief, despair, and rage.

Lest one conclude that the entirety of Act I was filled with loud passion, a pair of familiar Duparc mélodies ("Extase" and "L'invitation au voyage") were perfumed with Gallic delicacy and stylistic elegance.

Finally, Manon's Act II aria from the Massenet opera "Adieu, notre petite table" clearly illuminated Manon's characterological ambivalence. Her greed for worldly wealth has triumphed over her lust for Des Grieux. She will shed a dramatic tear or two, we can be sure, and Ms. Kuzma did a superb job of showing us.

The material chosen for the second half of the program was of less interest to us, inasmuch as it was predominantly 20th century and mostly in English. We found our attention focusing on the exceptional pianism of Katelan Trân Terrell whose accompaniment in the first part of the program was so admirably supportive. This shift of focus happens to us often and we wonder when composers lost their facility with vocal lines whilst retaining marvelous complexity in the piano.

We loved the moody piano in Charles Griffes' "Three Poems of Fiona Macleod" and the flowing ripples in Sibelius' "Var det en dröm" which augmented the dreamlike text, taking Sibelius' contribution to new heights.

We have a soft spot in our heart for The Kosziuszko Foundation which contributes so much to the New York City cultural landscape. In the same way we are happy to be reminded of the multiple many faceted contributions made by Tadeusz Kosciuszko to the American Revolution. If you are not aware of him, we urge you to read about it. He was a true hero! 

© meche kroop