A TRIBUTE TO STEPHEN SONDHEIM

 

Curtain Call for SAS Performing Arts Company's Sondheim Tribute Revue

When we think of opera of the 19th century, a number of giants come to mind--Rossini, Bellini, Donizetti, and Verdi. When we think of the 20th century we think of Puccini, Richard Strauss, and Stephen Sondheim.  How does Sondheim fit into this illustrious group? We haven't even mentioned Rorem or Britten. 

We take full responsibility for our opinion that no one has spoken to us as Sondheim did.  No one entertained us as Sondheim did. No one had us leave the theater humming his tunes with such pleasure. An evening tribute to his vast repertory, presented by SAS Performing Arts, left us completely satisfied.

What is unique about SAS Performing Arts is their embrace of three cornerstones of performing arts: opera, musical theater, and drama. Beginning a company at the time of Covid, as Stephen Scovasso did, was a brave act and is likely the reason that we were unaware of their (mostly virtual) productions until recently. We are happy to report that this season promises to be an exciting one, with productions of Grecian's Dracula, Menotti's The Medium, Dickens' A Christmas Carol, Oscar Wilde's The Importance of Being Earnest, Thornton Wilder's Our Town, and a night of Rodgers and Hammerstein. Sounds ambitious!

We avoid drawing a line between opera and music theater when neither is amplified. It's all about telling a story with music. Hopefully, the story resonates with us and the music stays in our ear, giving us pleasure long after the performance ends.

What is unique about Sondheim is the fact that he wrote both lyrics and music, allowing an uncommon fit between clever rhymes and melodies that captured the emotional intent and rhythms of the phrases. Of course we are aware that he was a successful collaborator, writing music for other lyricists and providing lyrics for other composers' music, most notably for Bernstein's West Side Story. But what we heard last night comprised works that were totally his.

The revue was produced and directed in a most satisfying manner by Mr. Scovasso (we see that there are lots of S's in both names), an experienced musicologist, conductor, director, and author. The cast of ten artists were seated onstage at café tables so that the artists performing a particular song could rise and join one another as called for. They worked well as an ensemble and we will name them all before ending our review.

Sondheim's greatest hits were each given a few songs and we particularly enjoyed renewing our acquaintance with Sweeney Todd, which, we insist, is an opera by virtue of its serious consideration of morality and fate, along with a most arresting score. Who but Sondheim could tell such a dark tale with flashes of humor as in "Try a Little Priest"--reminding us of Shakespeare's tendency to leaven some of his tragedies with humor.

Another favorite of ours is A Little Night Music with its sharply drawn characters and romantic entanglements that a 21st century audience can relate to. The poignancy of missed connections in "Send in the Clowns" is so intense that the work has become a favorite of cabaret artists. As a matter of fact, most of the selections chosen for the evening's entertainment were stand alone favorites.

Of course, knowing the entire work always makes the individual numbers more deeply felt; "Into the Woods" from the work of the same name, took us back a few months when we saw the work performed by students of Manhattan School of Music. We enjoyed it so much we saw it twice and if you, Dear Reader, care to know more, enter the title of the show in the search bar.

Participating artists, in alphabetical order, were Brian Alvarado, Tyler Ayala-Van Tassel,  Jorge Blakely,  Janice Hall, Dan Drew, Daryl Glenn, Elisabeth Ritscher, Emily Samuelson, Veronica Shea, and Deborah Surdi.  Accompanying on the piano was Nick Stamatakis.

And now, Dear Reader, since nothing is perfect, we have come up with a few quibbles. An unnecessary microphone made a couple unwelcome appearances, as did the loathed music stands. The acting was, on the whole, a major contribution to the success of the performances which were most relatable when the music stands disqppeared. Sondheim's clever text would have benefitted from some clearer enunciation. Surprisingly, it was in the ensembles that the words came across most clearly. (We have noticed in the opera world that enunciation of English is best by artists from other cultures who work hard to get the words across clearly.)

We were overjoyed to make the acquaintance of Sondheim's works that were less familiar to us than Sweeney Todd and A Little Night Music. We were delighted that our foreign born companion enjoyed the evening almost as much as we did. There is something about Sondheim's melodies and the cadence of his  rhymes that delight the ear; and there is something quintessentially New York about his storytelling, even when the stories take place in London, Sweden, Rome or Paris. Sondheim was indeed an American treasure whose music will endure in the same way as Verdi's.

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A BARGAIN WITH THE DEVIL

 Maria Brea as Marguerite in Village Opera's production of Gounod's Faust

We have given this a lot of thought lately. When we began writing about small opera companies and young opera singers about a dozen years ago, Manhattan was home to a dozen small opera companies that provided performance opportunities for these young opera singers. They operated on a shoe string, transforming church basements and black box theaters into makeshift playing areas. Costuming was equally improvisational but storytelling was generally excellent and imaginative, ticket prices were affordable, audiences had a great time, and a considerable number of people were introduced to the art form.

So, what happened? Part of the answer can be found in the Covid epidemic which kept people at home and then forced them to wear uncomfortable masks in public places. Other companies dropped out for other reasons, often financial. Sometimes it was just the inability to break even or gross financial mismanagement;  in one case, a too rapid New York Times induced fame led to premature arrogance and self-satisfaction. Other times, a successful production team disintegrated when one partner jumped ship or moved away.

What is left, other than the successful long-established Regina Opera Company in far flung Brooklyn, and the equally distant Bronx Opera Company and The Lighthouse Opera, both of which attract sizable audiences. Here in Manhattan we have Heartbeat Opera which can be wonderful but often goes off the rails, and the struggling Amore Opera which badly needs a better venue.

We do get annual two-day visits from the superb Teatro Nuovo, which presents marvelous bel canto discoveries performed by young singers for a packed house; and we had a one day major success from Classic Lyric Arts Vocal Academy who gave us a vocally superb and dramatically powerful production of Puccini's Il Tabarro. What we need is a small company to perform the classics on a regular basis, giving performing opportunities to young singers.

But never fear, Dear Reader, if anyone can accomplish this, we place our bets on Felix Jarrar, well known as a composer, conductor, and pianist. Although the early efforts of his Village Opera just came to our attention, we found his concert version of Gounod's Faust to be promising. There was much to enjoy that Sunday afternoon and enjoy we did.

The lion's share of our pleasure can be attributed to the stunning performance of soprano Maria Brea in the role of Marguerite. We have been following Ms. Brea since her performance as Marie in the much missed Prelude to Performance's production of Donizetti's Fille du Regiment. Her performance was not only vocally admirable but she did not let the music stand of this concert version prevent her from relating to her fellow cast mates.

This feature was also notable in a vocally powerful and dramatically connected performance of William Clay Thompson in the role of Mephistopheles. He also reached beyond the limitations of the concert production style and gave us a snarly and scary character.

Maestro Jarrar performed a piano reduction of the score that captured all the colors of an orchestra and gave necessary support to the singers, which included tenor Eric Botto as Faust, Joseph Canuto Leon as Valentin, Christina Marie Esser as a believable Siebel, Evan Fleming as Wagner, and Brooke Larimer as Marthe. There was good support from the chorus which comprised the cover cast.

It was a very short while ago that we attended a rather overproduced and concept driven production of this same opera, a production that distracted us from Gounod's gorgeous melodies. The Village Opera production, minus titles, allowed us to focus on the music and singing.

It would be our dearest wish if Mo. Jarrar could work his way toward  traditionally staged productions of other masterpieces of the operatic canon, giving young singers an opportunity to learn a new role and giving Manhattan residents an authentic operatic experience. We could do without elaborate sets and a minimum of costuming would suffice. What we really need are sound musical values and some good storytelling . Where there's a will there's a way!

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THE BUTTERFLY LOVERS

 Ma Renjie and Xuan Cheng

(photo by Rosalie O'Connor, courtesy of Hong Kong Ballet)

It comes as no surprise that The Butterfly Lovers is one of China's four major folk tales. Dating back to about the 3rd or 4th c. AD, the poignant story of star-crossed lovers has inspired plays, films, a violin concerto, music videos, a figure skating act, and several operas, although we could find no evidence of it being performed by the Peking Opera.

Storytelling has been part of human culture since the dawn of speech, long before the alphabet and written language. Mankind has always loved stories, sharing them by means of music, song, and dance, and eventually through books and film. There is a commonality between opera and ballet in that both performing arts drive straight to the emotions, often bypassing the critical thinking part of the brain. And therein lies their special value.

Last night we had the privilege of attending a performance of the Hong Kong Ballet which was formed in 1979, fortunately escaping the meretricious intentions of The Cultural Revolution. Judging by their repertoire, they are firmly in the camp of classical ballet as exemplified by the choreographers whose works they perform. We are glad, however, that our first experience of their repertoire was The Butterfly Lovers, since we are a great devotée of Chinese culture.

The themes of The Butterfly Lovers are universal--forbidden love, gender inequality, classism, societal norms, and the transcendence of love. Although similar stories can be found in many cultures (Romeo and Juliet, Yentl) here the story is told through a Chinese lens with concept and choreography by Hu Song Wei Ricky and librettist/associate choreographer Mai Jingwen. The story is told episodically with sequential scenes illuminating the relationship of the heroine Zhu Yingtai with her aristocratic parents, her gender secret admission to an academic institution, her meeting with fellow student Liang Shanbo, their developing relationship (including their awkward mutual sexual awakening) and the tragedy which follows her being called home for a forced marriage.

A particularly lovely scene was the sexual awakening when Liang discovers that Zhu is a girl. The set designer Tim Yip (who also designed the stylized but period authentic costumes) had our romantic couple side by side on a nearly vertical bed, giving the audience full view of their awkward and playful interaction. Meanwhile, in a most effective directorial and choreographical gambit, a different pair of dancers created a sensual and tender pas de deux. 

The New York City Ballet Orchestra, under the baton of Maestro Lio Kuokman, performed the varied score of Tian Mi. Did we hear strains of the violin concerto entitled Butterfly Lovers, composed by He Zhanhao  and Chen Gang whilst students at the Shanghai Conservatory? We were inspired to listen to the work performed by Joshua Bell and a group in Singapore playing on Chinese instruments instead of the Western orchestra it was written for. It is a splendid piece of music that was composed in 1959 and was repressed until the Cultural Revolution ended.

As for the dancing, we found it satisfying in every respect. Relationships between characters were made very clear. Zhu's pas de deux with her father was completely different from her pas de deux with Liang. Choreographic combinations flowed with what in opera might be called legato technique. Lifts and carries were exciting and sensual. 

For purposes of variety there were large ensembles in colorful costumes, at times dancing aggressively to aggressive music. There was only one scene that seemed off to us.  It involved a corps of female dancers in white tutus, looking as if they wandered in from another ballet. We just shrugged that off as an anomaly or something that went over our head.

Finally, we would like to mention how the lighting by Yeung Tsz Yan added visual interest to the simple but effective scenic design. We hope that The Hong Kong Ballet will return soon and hopefully perform one of the other four famous Chinese legends. Regular readers will recall our distaste for the didactic and the abstract. Story ballets are what we want to experience, and an Asian company is best suited to introduce us to Asian stories!

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SLEEPWALKING

 Abigail Lysinger, Abigail Raiford, Teresa Castillo, and Christopher Bozeka

"Nothing with kings

Nothing with crowns;

Bring on the lovers, liars and clowns"

The clever lyrics of Stephen Sondheim from the 1962 hit musical Something Happened on the Way to the Forum came to mind, contrasting Teatro Nuovo's production of Bellini's 1831 La Sonnambula with the prior evening's performance of Verdi's Macbeth which we just reviewed. Will Crutchfield's instructive program notes call this work an opera semiseria, differentiating it  from opera buffa, a genre we are all familiar with, thanks to the earlier creations of Rossini.

It is serious because it deals with real human emotion but the comic designation comes from the fact that it has a happy ending. (Truth to tell, it didn't seem so happy to us that the sweet and innocent young Amina (sung  by soprano Teresa Castillo in sensational coloratura form) would be shackled for life to the immature and narcissistic land owner Elvino (played by tenor Christopher Bozeka). 

He is so mistrustful of his bride that he is ready to abandon her on their wedding day and so fickle and vengeful  that he plans to immediately marry another woman. Well, autre temps, autre moeurs. Amina seems a forgiving sort and we hope that the immature Elvino will grow up. It might have seemed less dire if the role had been played by a jejune youth who seemed ready to grow up.

What thrilled us about this performance were the musical values of this period-correct orchestra . Elisa Citterio served as Primo Violino e Capo d'Orchestra often conducting with her bow; Mo. Crutchfield served as Maestro al Cembalo; Derrick Goff was Maestro del Coro.  Bellini's long lyrical lines melded with Felice Romani's flowing poetry to excellent effect. The vocal artistry was nearly perfect, which we will get to later.

What bothered us most was the lack of staging and costuming. At the previous night's Macbeth, we scarcely noticed these deficiencies but there was something a bit "off" about the staging and acting in this Sonnambula. It seemed as if the characters were each performing in a different mode and time period. At times we perceived a sly "meta" wink at the story; at other times a period appropriate sincerity. All in all, the women came across better than the men.

The villager Alessio (bass-baritone Vincent Graña) is in love with the inn-keeper Lisa (soprano Abigail Raiford) who is pursuing the afore-mentioned Elvino, who is about to marry Amina. Amina's somnambulism is not understood by the villagers and, when accused of unfaithfulness, only her mother Teresa (mezzo-soprano Abigail Lysinger) stands by her side. It is the arrival of the long absent Count Rodolfo (bass-baritone Owen Phillipson) that both precipitates and then resolves the crisis.

Ms. Castillo's performance was impeccable with stunning execution of the difficult fioritura; no doubt some of the cadenzas were devised by the artist herself but there were some outstanding embellishments of the vocal line that had been written by Bellini himself but never performed! We invite you, Dear Reader, to hear Mo. Crutchfield's demonstration online in a brief clip including Ms. Castillo. https://www.youtube.com/watch?v=SSX8kuNc6l4.  We would love to hear your comments below.

Unfortunately, we have no equivalent encomia to offer about Mr. Bozeka's performance. He seemed to be having a bad night, particularly in Act II when challenged by the high tessitura. The work was performed in its original key which is higher than that which audiences have previously heard.

Both Abigails performed their parts well with Ms. Raiford playing Lisa for contemporary laughs. The audience loved it and, if the comic emphasis had been consistent, we might have loved it as well. Still, the story is so not contemporary by virtue of the villagers' ignorance and belief in specters that we doubt it would have worked. Sometimes it's best to treat an historical work with authenticity and leave out the irony. 

In sum this was a rare and rewarding opportunity to hear the work as Bellini meant for it to be heard. With appropriate Swiss peasant costuming and a firm directorial hand, this production would put that of any famed opera house to shame.

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THE SCOTTISH OPERA

 

Romeo Lopez, Martin Luther Clark, Ricardo José Rivera, Alexandra Loutsion, and Cumhur Görgün

Verdi's masterpiece Macbeth does not seem to be burdened by the superstitions surrounding Shakespeare's brilliant tragedy. There were no mishaps Wednesday evening at New York City Center when Teatro Nuovo produced an absolutely riveting performance of Verdi's original 1847 version of the opera, composed during his early period. This version is rarely performed, having been supplanted by a revised version Verdi created nearly twenty years later, at a time when his compositional style had evolved. 

Our first contact with the opera was a quarter century ago, before we began writing about opera. Nevertheless we will never forget Lauren Flanigan's performance as the ambitious Lady Macbeth. Since then we have seen a few productions that were well done, especially one by Dell'Arte Opera Ensemble, which also brought the earlier version to light. 

Thanks to Maestro Will Crutchfield and Teatro Nuovo we were able to appreciate an intensely blood and guts creation, heavily influenced by the bel canto period with its plethora of audience favored cabalette.  Crutchfield's pre-performance lecture, given as usual without notes and drawing from an inexhaustible fund of knowledge, went a long way toward our appreciation of Verdi's incomparable skill in expanding the bel canto tropes of the period to great effect on the emotions. We have no opportunity to compare the two versions side by side but trust Crutchfield's instruction. We heard a few cabalette that were dropped for the later version as Verdi's architecture became more sophisticated. We found them rousing and most satisfying.

Sometimes we appreciate the sophistication a composer achieves in his later years, as in Mozart's final few symphonies. At other times we prefer works of an artist's early period when he or she was more daring and searching for a new voice. (In the world of visual arts we were surprised to learn how much we liked Picasso's work before he evolved into cubism). But as far as Macbeth goes, the early version we heard affected us emotionally on a deeper level. For example, in the final act when the chorus (here given a larger part) mourns the sad fate befalling Scotland, we couldn't help but think of the sad path currently being forced upon the United States by power mad forces. This is exactly what art should do--confront us with our situation in an indirect manner that allows us to draw the connection ourselves. Just as the English came to help the ailing Scotland, we fantasized that Canada would come to rescue the United States from the scarily burgeoning Fascism.

It was interesting to learn how enthusiastic the Florentine audience was in 1847, demanding many repeats. It is even more interesting when we learned that no one in Italy knew of Shakespeare's play or the glory of iambic pentameter in his use of the English language.  Probably largely responsible for the roaring success was the combination of Verdi's passionate music and Maria Piave's adaptation of Shakespeare's tale. What a partnership this pair created!

 Jakob Lehmann has the commanding presence of a man twice his size. As Maestro Concertatore e Direttore he was in full command of the orchestra, organized as is customary with Teatro Nuovo with all musician's facing each other. Lehmann conducts with his entire body and sitting close was a real treat for us.

We have nothing but praise for the singers. As the eponymous hero, tenor Ricardo José Rivera managed to color his excellent instrument with increasing darkness, having started out rather mildly but, driven by his wife's ambition and the dark work of the witches, the colors became suitably darker. Embellishments of the vocal line were clean.

Soprano Alexandra Loutsion made an equally compelling Lady Macbeth, at times seductive and at times driving, coloring her huge instrument to the text. The lavish fioritura seemed no challenge for her flexible instrument. Although it was difficult to feel sympathy for Macbeth, the gentle compassion of Lady Macbeth's  lady-in-waiting toward the sleep-walking "heroine" rubbed off on us, an amazing emotional shift.  But no wonder! It was the superlative young soprano Jihye Seo who impressed us so thoroughly this year in her performance of Cio-Cio-San and here did such a fine piece of work as the lady-in-waiting.

Another young artist that grabbed our attention was the up-and-coming tenor Martin Luther Clark whose grief-stricken Macduff tore at our heartstrings . We also enjoyed Derrick Goff as Duncano, the doomed King of Scotland, Macbeth's first victim. Bass Cumhur Görgün did well with the role of Banquo, killed off to early in our opinion! As Duncan's son Malcolm we heard Romeo Lopez who, by contrast, appeared too late. What we mean to say is we would like to hear more of them!

Let us say a few words about the staging. In place of sets we had projections--not the annoying distracting moving variety.  Just a series of still photos establishing the various locations in the castle, a woodland clearing, and Burnham Wood. There was no stage furniture save for a lone modern chair on which Lady Macbeth sat briefly. The sole attempt at staging was a roaring success-- the scene for the witches in which they danced around an impressive cauldron. The scene was inordinately powerful with young artists singing and dancing around the flaming cauldron. 

The minimal staging is quite likely due to a lack of funding which also called attention to itself in a lack of costuming a more serious lack, one which might have been remedied at minimal expense. We have seen small impoverished companies create costuming suggestive of period and place; so, we surmise, the priority of Teatro Nuovo is on top quality  music as evidenced by the superlative singing and outstanding orchestral performance. Oddly, the child Fléance sported a white tunic. Everyone else dressed in black garb or suits. With such intensely satisfying musical values, please, Dear Reader, take this as an observation, not a complaint.

Indeed, this will go down as one of the year's best productions, by virtue of its musical values, it's dramatic impact, and the unique novel effect of being introduced to a rarity.

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ANCIEN REGIME

 

The Versailles Royal Opera Orchestra

We are, by default, members of the Second Estate in late 17th c. France, guests of a gracious host, being royally entertained and plied with drink and nibbles, witnessing all manner of entertainment in a rococo palace,  We do not realize we are the last remaining exemplars of the French aristocracy .

Well, actually, we are attending a gala event at the rococo fashion emporium Printemps, produced by prominent New York impresario Andrew Ousley who knows well how to do "immersive". Putting together such an event requires an inordinate amount of coordination and contacts, as one can well imagine.

The centerpiece of the evening, for us classical music addicts, was the first United States performance of the Versailles Royal Opera Orchestra which performed on instruments of the Baroque period with winds softer and gentler than modern winds, conducted by Concertmaster Stefan Plewniak.

 The anachronistic program included works by Rossini who was not due to arrive on the musical scene for well over a century later. We recognized  works from Tancredi and Semiramide and enjoyed the performance of countertenor Franco Fagioli, as did the rest of the rather large audience.  An unknown piece (unknown to us, that is) was identified by a seatmate as K-Pop, about which we may choose to remain ignorant.

There was more music to delight the ear, much more. The second floor space of Printemps in downtown Manhattan is vast with many rooms connected by corridors, each space affording a new delight. There was a string quartet and a theorboist Dušan Balarin accompanying soprano Ariadne Greif. Adam Young performed on the viola da gamba.

After working our way through the corridor of music we arrived at a series of tableaux vivants, set up within spacious repurposed fitting rooms, illustrating scenes from the "Affair of the Poisons" that created a tumultuous tidal wave in the court of Louis XIV. This led us to inform ourself about this period of French history, about which we knew nothing. Lots of secret poisonings, arrests, and executions.  Live and learn! What good is art if one doesn't also learn something thereby.

The many salons and corridors were peopled by members of Company XIV, actors and performers in lavish period appropriate costumes and powdered wigs. There was also some period dancing which we missed. There was so much going on that one would have had to clone oneself to take it all in. We did catch the end of a sword swallowing act in which the woman swallowed something that was at least as long as a sword but seemed to be neon lit.

Our attention, toward the end of the evening, was riveted by Creatine Price, a singer of our acquaintance who shall remain unidentified  until he gives us permission to reveal it. We admit to loving drag performance, but especially so when performed by a genuine opera singer with a great voice. We particularly enjoyed the no-hold-barred "Habanera" from Bizet's Carmen.

Having enjoyed such a dazzling evening of entertainment and revelry, we have a special reason to mention the high quality wines which were poured, courtesy of Bouchaine Vineyards in Napa County, California. What made this significant is the participation of the owners, Tatiana and Garrett Copeland, who not only provided the wine but were responsible for bringing the Versailles Opera Orchestra to North America for their first tour, including performances in Napa Valley, Toronto, and Montreal. Although the Versailles Opera Orchestra was not in existence at the time of Louis XIV, they were founded in 1770 by Louis XV--before the colonies here declared independence from Great Britain.  Now that's history.

There will be another performance by the Versailles Royal Opera Orchestra tonight at Florence Gould Hall of the Alliance Française but we regret to inform you that the event has long been sold out. Next time Mr. Ousley announces an event we advise you to jump on it. Of course, Dear Reader, you already know about his Death of Classical events at The Crypt? If not, just ask us.

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THE DRAMA OF THE LIED

 

Lara Saldanha, Victoria Falcone, and Nina Riley (photo by Andrew Bisdale)

If you were fortunate enough to have attended Dell'Arte Opera Ensemble's concert last night at the A.R.T. Center you would have experienced what a lieder recital can and should be. In a program conceived by Maestro Chris Fecteau, each set of songs became a mini opera, since each set had a theme.

There was an overall unity to the program since all of the texts were written by Paul Heyse who translated them from Italian--hence the title of the concert Italienische Liederbuch. Most fans of lieder have heard Heyse's poetry as set  by Hugo Wolf under that very name. But many of us, ourself included, did not know the wealth of material set by other composers. 

We did, of course, know that other German texts have been given multiple settings by different composers but this assemblage had a dramatic intent, the realization of which was an original and effective undertaking. Although no director was listed in the program, we will hazard a guess that Mo. Fecteau undertook the task and it was a fine undertaking indeed.

The material was not organized by composer, but rather organized along the principle of theme, so each listener was swept into the mini dramas and offered an opportunity to access his or her own memories and imagination.

Hermann Goetz's brief period of composition predated that of the late 19th century Hugo Wolf whereas Joseph Marx's heyday was somewhat later. Nonetheless, there is enough similarity within German Romanticism to unite the works, which also included one by Brahms and also Arnold Mendelssohn (a relation of Felix). There was no jarring as there might have been if modern compositions had been included.

The first set of songs was entitled "Young Lovers" and found the bright-voiced soprano Nina Riley locking gazes with the richly voiced mezzo-soprano Victoria Falcone. Both singers amplified the vocalism with dramatic enactments of flirtation. Accompanying with panache at the piano was Lara Saldanha.

We have special admiration for singers who deliver their material "off the book" which makes for better audience contact and soprano Ellen Teufel accomplished that with ease, accompanied by Mo. Fecteau himself who is always a pleasure to hear.

Following was an exploration of a love triangle comprising soprano Heather Bobeck, mezzo-soprano, Olivia Ericsson, and tenor Stephen Steffens. The facial expressions and gestures of the two women were priceless. Furthermore, it was a pleasure to hear Mr. Steffens in gentler material than that written by Mozart for Emperor Tito, which we had heard the night before.

The relationship between Father and Daughter was well explored by soprano Elizaveta Kozlova and bass Jason Adamo who presented a very distant father who seemed never to look at his lovely daughter. David Stech accompanied and also provided an absolutely delightful interlude.  Felix Mendelssohn' Songs Without Words do not need words but his "Barcarolle" in the hands of Mr. Stech produced images of Venice in my mind's eye, a gentle swaying in my body, and strangely enough, in my mind's ear, the lonely musings of the gondolier paddling himself home at the end of the night! Words were not needed but they came unbidden.

Soprano Clara Lisle joined with tenor Andres Penalver for songs about love transcending death, accompanied by Ms. Saldanha. Just when we thought the program was over, we were fortunate enough to have two more songs by Ms. Teufel accompanied by Mo. Fecteau. We observed that Ms. Teufel is always "off the book" and in a position to make good contact with the audience. In the Wolf "Gesegnet sei" she was very still but seemed to loosen up with her gestures in Marx's "Ständchen". We had the thought that her artistry could go from an "A" to an "A-plus" if she could make her gestures more specific. This is a fine point we have been becoming more aware of recently. It takes a performance to a higher level.

Although we could happily have listened to more, we did feel satisfied by the program, which succeeded in accessing our own memories and associations. As in the other two events of Dell'Arte's 25th season, we were very happy with the organization of the space and the clarity of the supertitles. We found ourselves wishing there were more events!

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