THE MERRYMAN AND HIS MAID

 Curtain Call at New York Gilbert & Sullivan Players' production of Yeomen of the Guard

New York Gilbert and Sullivan Players have been delighting NYC audiences for half a century and we have witnessed their growth in artistry and audience size at least for the latter portion of this period. Their professionalism makes them one of the Big Apple's premier performing companies. We have always enjoyed their musical values as well as their production values. Last night's performance manifested their importance on the NYC cultural scene.

So curious were we about the difference between Yeomen of the Guard and the trio of Gilbert and Sullivan operettas most commonly produced (The Mikado,  H.M.S. Pinafore, and Pirate of Penzance) that we did an online search to learn the details, as you, Dear Reader, may also choose to do. We will focus on a few interesting details before relating our experience with this delightful production.

The first thing we noticed was that the overture was not merely a collection of tunes but was composed in sonata form. Speaking of the excellent NYG&S Players Orchestra, helmed by Maestro Joseph Rubin, we were particularly delighted by the way the winds highlighted Sullivan's themes. The next thing that differentiated this work from other G&S works is the lack of institutional satire. There are no sendups of the judiciary, the navy, or the police. As a matter of fact, the Yeomen are a particularly normal bunch, gorgeously decked out in Beefeater's garb.

And finally, the ending is not a tidy resolution with everyone happy. Rather, it is bittersweet with the Merryman (the jester or fool, as it were) collapsed in a heap on the floor as the Maid, his theatrical partner, weds another man. Even sadder, the lovesick Phoebe has lost the object of her affection and is bound to a man she doesn't love--the Jailer Wilfred Shadbolt, in order to keep him quiet about a risky plot. Similarly, Sergeant Meryll, Phoebe's father, is obliged to wed Dame Carruthers whom he has been avoiding for years, all to keep the same secret. We will say no more about the plot but hope that you, Dear Reader. will catch the final performance tonight and see for yourself.

We don't want to convey the impression that the work is completely serious. As in Shakespeare, there are more than enough moments of levity and sufficient plot twists to tease your brain. As a matter of fact, the opening aria, sung by Phoebe (marvelous mezzo Amy Maude Helfer) "When maiden loves, she sits and sighs" led us to believe that she would be the one to enjoy a happy ending. 

The one who does enjoy the happy ending is Elsie Maynard, a strolling singer portrayed by the winsome soprano Natalia Hulse who weds a condemned prisoner (terrific tenor Thomas Valenti) in order to save his inheritance.  Have we aroused your interest yet?  The heartbroken Merryman, as performed by James Mills, not only touched our heart but also dazzled our ears with patter song.

The closest role to a villain (but not really) is that of the Jailer turned Jester who in spite of constant rejection by Phoebe may eventually wed the woman who has been fighting him off. Matthew Wages imbued the role with a great deal of humor in the effective manner in which he spoke his lines, accompanied by perfect facial expression and gesture.

We also enjoyed the performances of Andrew Martens, Sergeant of the Guards and Phoebe's father. He lent stature and honor to his role, even as he connives and plots to save his friend's life. His Lieutenant was effectively portrayed by the well known David Auxier who so successfully co-directed the work, along with the afore-mentioned Mr. Mills.  Phoebe's brother was played by Cameron Smith and Sarah Hutchinson played the part of Dame Carruthers niece, both necessary to move the plot forward. It is always a pleasure to hear the striking contralto voice of Angela Christine Smith as Dame Carruthers;  we have enjoyed her performances in every one of the company's productions.

We would like to commend the production values.  The set by Richard Manfredi and Albère does evoke the Tower of London, or at least the way we imagine it in the 16th century. Phoebe's home, or at least the room where she spins, occupies a corner of the stage. No more is needed. Costumes by Gail J. Wofford and Jan Holland are resplendent.

We generally have a quibble and here it is. The sound was muddy at times. We cannot tell whether it was a flaw in the electronics or careless diction on the part of the singers but we did understand every word sang and spoken by Mr. Valenti. We considered that our spotty comprehension had to do with our lack of experience with miked voices,  but our companion confirmed our opinion. The well chosen singers could probably be well heard without amplification. Or perhaps subtitles might be provided as they are by Utopia Opera's productions of G&S operettas.  Just sayin'.

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PERFECTLY PURCELL

 Chelsea Helm and Mary ElizabethWilliams

A most welcome visit from Washington, D.C.- based Opera Lafayette provided the usual banquet of aural and visual delights for which they are known. Departing from their customary emphasis on opera of the 18th century, we took a step into the distant past to the Baroque era work Dido and Aeneas by Henry Purcell. At least our ears were transported thereto. Our eyes however confronted a rather contemporary setting looking very much like a library or common room in an educational institution. Identically costumed young women confirmed our speculation.

Having missed the pre-performance lecture, we were left to our own devices to figure out the disjunction. It only took a few minutes to realize that the taller women were either teachers or proctors and that they would be rehearsing Purcell's masterpiece, which (a fact dredged from our memory) was written for a girls' school in England in the last quarter of the 17th century. 

This concept by Stage Director Corinne Hayes was brought to realization by Set Designer Lisa Schlenker and Costume Designer Lynly Saunders. Having two tall women as the "teachers" and a clutch of shorter youthful women/girls as students (playing the choral roles) facilitated the illusion. Our vision is not the best but the acting convinced us that they were unruly schoolgirls, not the obedient schoolgirls of the 17th century but perhaps more like Dalton girls, sporting uniforms with plaid skirts, well directed to tease each other and assume children's postures and gestures.

Purcell's instrumental prelude tuned our ears, however, to a different time and place and it took several minutes to integrate what we were hearing with what we were seeing. Once the singing began however, and we realized they were putting on a show, we were able to settle in and enjoy the music. Furniture was repurposed as props and makeshift costumes for the two "teachers" were devised. Purcell's gorgeous duet for Dido (Mary Elizabeth Williams) and Belinda (Chelsea Helm) reminded us how skillfully Purcell set the English language (and what a rare and forgotten skill that is!), tailoring his elaborate vocal line to emphasize the words of Nahum Tate who wrote the libretto. Most music lovers are familiar with "Dido's Lament" which closes the opera, but not many would recognize the gorgeous duet in which two sopranos, with voices of different weight, wove their vocal lines into a tapestry with the glorious music.

For those of you who don't know the story, it is a simple one of two lovers parted by fate, leading to a suicide. It's an old story but just think how times have changed. Fate, in the 17th century, meant angry gods or witches and thus we had bass-baritone Hans Tashhjian who's made quite a name for himself in the dozen years since the first time we reviewed his performance as Wurm in Luisa Miller. Why this sorceress has it in for Aeneas we never learn but he employs deceit to lure Aeneas to Rome and to thus abandon Dido, Queen of Carthage.

In succeeding centuries, lovers were separated by political rivalries, vengeful paramours, and unequal social standing. Today, it is more likely personal whim or ghosting. Suicide over romantic disappointment is rare. By 21st century psychology, Dido seems petulant and histrionic. Our thoughts ran along the lines of  "So, dear girl, your lover gets called out of town. Move on. Find yourself a new one." Presenting the story as Virgil intended gives us perspective into the changing meaning of love and the relationship between men and women.

Musical values were excellent all around with Patrick Quigley serving as Music Director and the superb Opera Lafayette Orchestra comprising mainly strings with a couple of winds. Oftentimes the theorbo  seems indistinguishable to our ears but at this performance Dušan Balarin took  the part and made himself heard. Perhaps it's the way Purcell scored it but we heard it distinctly and we loved it.

We have yet to mention the third soprano. We hardly know what to make of a male soprano and how that fach differs from a counter-tenor, but the role of Aeneas was played by Elijah McCormack. Perhaps it was just a height issue but Ms. Williams, with her strong dramatic soprano and imposing height, seemed to overshadow him.  Another soprano  Kayleigh Sprouse made an impression with her convincing acting. The deep contralto of Cecilia McKinley made her a believable  witch.

It was a fine evening with the tragic tale leavened by some rowdy sailors' chorus, Purcell's gorgeous music, Tate's concise libretto, and all around excellent musical values.

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EARLY HALLOWEEN

  The priceless Creatine Price

Who else but Andrew Ousley of The Death of Classical could have created such an extraordinary event (a fortnight ahead of our favorite holiday) already pushing the envelope of entertainment, artistry, and spookiness. Thousands of celebrants rambled around the multiply branching pathways of Greenwood Cemetery in dark of night to participate in the revelry. Absent a full moon, these pathways were lit by strings of lights. Celebrants strolled through with flashlights and cellphones to guide them, helped along by volunteers who were always willing to guide them to the next event.

These events comprised performance art, videos, various types of music, and, best of all, our favorite male mezzo-soprano Creatine Price in full outrageous drag, offering the "Habanera" from Bizet's Carmen and "Stride la vampa" from Verdi's Il Trovatore. When not singing, Ms. Price served as DJ for those who wished to let it all hang out on the dance floor. We think Ms. Price will forgive us for blowing her cover; under that fabulous wig and gown we recognized Jordan Weatherston Pitts!

Attracting a huge crowd were the members of the Bindlestiff Family Circus offering sword swallowing and tightrope walking. A beautiful female taxidermist demonstrating the conversion of a deceased black crow into a stuffed one captured our curiosity and attention. A woman in Victorian attire danced with a bloody garment, attended by a man manipulating body parts. Mausoleums were decorated with swirling projections. Various types of music filled the air with sound. We hope, Dear Reader, that you will see our Facebook and Instagram entries (also as "Voce di meche") since, as they say, a picture is worth a thousand words. So stop reading already and go look at the pictures!

We believe tonight's final event has been sold out but you never can tell. If you can snag a ticket you will have the time of your death life.

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FROM CANON TO CREATION

 Cris Frisco, David Khang, Daniella Brancato, andYulin Wang

Sponsored by the Gerda Lissner Foundation, held in the studios of WQXR, and introduced by renowned announcer Midge Woolsey, a generous program of opera arias, duets, and ensembles featured students from Mannes Opera as well as esteemed graduates. As is our wont, we will focus our comments on the students. If we are still writing about opera ten years hence, we will no doubt be overlooking these students who we expect will by then have gained fame, and we will be writing about the next crop of emerging artists.

Although New York City is home to three conservatories of music, Mannes perhaps gets less love from us due to their focus on contemporary opera and definitely not due to any lack among their students. As a matter of fact, Arthur Levy and Glenn Morton (two of our favorite voice teachers) are on their faculty and have introduced us to some extraordinary young singers.

The enthusiastic audience showed equal appreciation for the famous graduates and the not yet famous students, regardless of their choice of repertory. From our point of view, however, performing "White Moon", one of Five Songs written by Ruth Crawford Seeger,  once a student at The New School (of which Mannes is a part) on the same program as "Song to the Moon" from Dvořak's Rusalka only served to point out the deficiencies of vocal compositions written in the past century. Nonetheless, mezzo-soprano Ruijia Dong used her beautiful instrument to make the former work vocally interesting and the text clear. In the Dvořak, soprano Daniella Brancato, tenderly accompanied by Bryan Wagorn's piano,  relished the composer's lavish melodies and simple sentiment, setting the bar way too high for the Crawford song which followed.

Staying with the lunar theme, we had the opportunity to revisit Huang Ro's An American Soldier  that we heard last year at the Perelman Performing Arts Center which strangely piped in the orchestra from somewhere else! How much better to hear a fine piano reduction sensitively played by Cris Frisco whilst soprano Hannah Cho and tenor Yulin Wang sang the "Moon Duet" facing away from one another, an appropriate stance since the ill-fated young soldier and his girl  are geographically separated. 

We enjoyed the opening duet a lot since baritone Sean Seungho Cha and bass-baritone David Kahng gave it their all, sometimes in harmony and sometimes in unison. "Suoni la tromba" from Bellini's I Puritani  was a fine choice to show off their musical and linguistic artistry. We noticed a definite focus on the embouchure and wondered whether that is emphasized in the tutelage at Mannes. It certainly produces a satisfying warm round sound.

We thought that soprano Adrinelle Chiesa deserved better than the aria she performed from an opera being workshopped. She gave a deeply felt performance and made ample use of gesture in a work with an uninteresting vocal line, although the piano part was quite lovely. Perhaps contemporary opera should be composed by singers!

We liked a duet called "Schönste Nacht" from a work Korngold wrote for Broadway that was not performed there but was eventually produced in Germany. It was performed by  mezzo-soprano Daria Tereshchenko and the aforementioned Mr. Cha.

We also enjoyed Yulin Wang's performance of "Salut! Demeure chaste et pure" from Gounod's Faust. Accompanied by Mr. Wagorn, he employed a lovely pianissimo that was well suited to a serenade. This was followed by the final trio from the opera in which Mr.Wang was joined by Ms. Brancato as Marguerite and Mr. Kahng as Mephistopheles.

Although much of the program was not our taste, we were happy to have gotten better acquainted with some of the excellent Mannes students. We vote for more  canon and less creation!

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SHORT AND SWEET

Carson Cook

The singer is tall but the program was way too short. We acknowledge that it's a good idea to leave your audience wanting more but Carson Cook's recital was just a bit longer than an hour and we would have happily enjoyed another hour. When we think of what makes a recital a hit, we would have to put audience engagement at the top of the list, right next to vocal quality. Mr. Cook's audience was attentive and met his engagement with their own.

One would do well to wonder what creates audience engagement in a vocal recital. Evidence is that audience members are not looking at their cell phones or nodding off. They may even lose interest in the provided translations because the singer conveys the meaning of the song by means of facial expression and gesture and also vocal coloration. From the standpoint of an audience member, one may feel that the singer is telling us a story in a highly personal way. Mr. Cook has a relaxed demeanor and addressed the audience directly with a minimum but adequate amount of information about each song.

The all-too-short program managed to achieve considerable variety and showcased the artist's facility with languages as well as fine vocal technique with a fach that we can only describe as baritenor. We will stay tuned to see how things shake out in the future. When singers change teachers there are often shifts, both profound and subtle. We have heard Mr. Cook several times in the past but this recital marked a major leap forward. 

The first half of the program gave us a taste of Mr. Cook's facility in Italian aria and canzone,  French chanson, and German lieder. Diction was equally fine in all three languages and we never had to look at the translations to understand the text. "Bel piacere" from Händel's Agrippina revealed some fine fioritura. Even in English we understood every word of the very sad "Oh loss of sight" from the same composer's oratorio Sansom.  A spirited canzone by Durante "Danza Danza Fanciulla" lightened the mood.

Reynaldo Hahn's gentle "A Cloris" was marked by some lovely legato phrasing, whilst Gabriel Faure's "Mandoline"  involved some painterly storytelling, bringing a visual aspect to the singing.

Three very different lieder demonstrated other aspects of Mr. Cook's artistry.  From our favorite Schubert song cycle Die schone Mullerin, we heard "Am Feierabend" in which we could actually see the young miller seated near the hearth in the evening with his boss and the tempting boss' daughter. This would be a great cycle for Mr. Cook to learn since he has the wherewithal to create the character of the hero. Kenneth Brown's skillful pianism created the rhythmic mill wheel reflecting the labor of the preceding day.

Gustav Mahler's "Ich bin der Welt abhanden gekommen" involved a totally different change of color. The composer is telling a story of withdrawal from the world and Mr. Cook succeeded in creating a stillness by means of a delicate delivery and a fine vibrato. Brahms' "Vergebliches Stänchen" involves a dialogue between an importuning young man and his resistant sweetheart. We think a little bit of work on a duality of body placement and alteration of color from one character to the other would take this performance to a higher level.

The second half of the program was a song cycle in the making, one with text by Rachel Joy Scott who died in the Columbine massacre. It was with great surprise that we actually enjoyed a work in English. What was particularly interesting was that each entry was set by a different composer. The text comprised Ms. Scott's diary entries and was definitely not prosy or pedantic. Her optimism must have inspired each composer to write a lovely melodic vocal line.

We enjoyed. the four songs we heard composed by Brandon Zhou, Chris Cooley, Dina Pruzhansky, and Chris Cooley who took over from Mr. Brown and played his dense complex score himself. We were very happy to learn that there are composers writing singable music!

Two hits from Rodgers and Hammerstein ended the program and confirmed our belief that Broadway songs, sung without amplification by a good singer, are really 20th century American art songs. Who doesn't love Sound of Music and The King and I!  Mr. Cook gets an "A" but the audience flunked! Invited to whistle along in "I Whistle a Happy Tune" not one person came across, thus defying the message of another song which Mr. Cook should have offered first--"Anyone Can Whistle"!

A cheerful encore of Louis Armstrong's "What a Wonderful World" left the audience in a joyful mood.

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A GIFT FROM SPAIN

Enriique Torres Dominguez and Lucia Iglesias

Carmen Larios and Eduardo Pomares

Brought to New York City by Musica Viva, an important organization in support of the arts, the young artists from Teatro Real of Madrid presented a most satisfying concert of favorites from the world of opera and zarzuela. Regular readers can guess what excited us the most. In light of the facts that we get to hear a lot of arias and duets from the operatic canon but rarely get a taste of the delicious works from the world of zarzuela, it was the end of the program that captured our heart, and the encore which left us ecstatic.

Readers who are unfamiliar with this traditional Spanish art form and its evolution in the New World would do well to learn more than we have space for here. Let us just mention that zarzuelas involve elaborate and convoluted plots mostly about (like Italian operas of the 19th century) love and patriotism. What is outstanding about zarzuelas is the presence of gorgeous melodies, similar to works of that period, even those that were composed in the early 20th century. What is unique is the presence of a very large cast including dancers, a feature that makes zarzuela a costly and difficult art form to produce here in the United States. We must content ourselves with the occasional aria or duet.

The singers from the young artist program of Teatro Real made a fine showing also in the operatic genre but please allow us in our enthusiasm to wax rhapsodic over the zarzuela portion of the program. Morena Torroba's Luisa Fernanda was produced here in NYC a couple years ago by Opera Hispanica and it is a real winner. From this work we heard "Lucha la fe por el triunfo" performed by lyric baritone Enrique Torres Dominguez who surely conveyed the aspect of the dashing military man Xavier.

Following this we heard the familiar "No puede ser" from Sorozabal's La tabernera del puerto, sung by tenor Eduardo Pomares. Even more striking was a surprise encore featuring all four singers in the Habanera "Todas las mananitas" from Manuel Penella's Don Gil de Alcala--and what wouldn't we give to see this zarzuela performed in its entirety!

We already knew how beautifully integrated were the four voices because the program had ended officially with "Libiamo" from Verdi's La Traviata which always sends the audience out on a high note-- so to speak.

Speaking of high notes, we enjoyed both sopranos --Lucia Iglesias and Carmen Larios. We were particularly impressed by Ms. Iglesias' apt interpretation of the role of Musetta in "Quando m'en vo" from Puccini's La Boheme. She captured every nuance of Musetta's teasing of Marcello without tawdry overacting. 

Carmen Larios delivered Juliet's waltz "Je veux vivre" from Gounod's Romeo et Juliette in fine French. The program notes provided a clear answer to the question of both soprano's musicality. They each studied piano from an early age; that may be a clue. Their duet "Sull'aria" from Mozart's Nozze di Figaro with Ms. Larios enacting the Countess and Ms. Iglesias taking the role of Susanna was a highlight of the evening. The different colors of their respective voices made the duet particularly appealing.

The two men also had a duet--everyone's favorite of course being "Au fond du temple saint" from Bizet's Les pecheurs du perles. In spite of the well chosen and well performed program, it is the zarzuela pieces that we will remember and hold closest to our heart. The accompanist for the evening was Gonzalo Villarreal who opened the program with a piano solo from Manuel de Falla's The Three Cornered Hat.

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GILBERT AND SULLIVAN MEET TOLKIEN

The Mikado presented by Utopia Opera and Forbear! Theatre

What a gloriously entertaining evening! Regular readers will recall the distaste we have for ill advised transpositions of the classics of the operatic canon. Fortunately we have no such reservations about more lighthearted and comedic works. We don't mean to imply that Gilbert and Sullivan's works are trivial. As a matter of fact, W.S. Gilbert tackled important topics such as Great Britain's complicated legal system, peculiar politics, class structure, and artistic pretensions; and he did so with the cleverest of lyrics. So the transposition of The Mikado from Japan to Middle Earth did not trouble us, although the names of the characters only hinted at the original designation.

In Forbear! Theatre's founder and artistic director Rachel Gianesse Middle, William Remmers, founder and artistic director of Utopia Opera, has met his match. Each is prodigiously gifted and successful at bringing beloved works to the public in unique and original ways.  For example, Remmers, with his rubbery long limbs and mobile face, brought new elements to the role of Klok-Cow, the lowly tailor promoted to Lord High Executioner. Middle brought a bright soprano and a winsome attitude to the role of Mna-y'um.  Middle also directed the drama whilst Remmers directed the music. 

And what great music it was with the winds taking a strong position, giving all 24 (!) of Sullivan's gloriously tuneful musical numbers their due. Also impressing us was Dan Cavendish as the Mikado of Pa'gaen who delighted the audience with his list of miscreants and the corresponding appropriate punishments. John Faal ably handled the role of the hapless wandering minstrel AEthel-Run. 

Although much of the cast was British and unknown to us, we were happy to see the familiar face and hear the familiar voice of the enormously funny Matthew Wages in the key role of P'fugal Fa, the possessor of infinite titles, each with its own responsibilities and privileges. Kathleen Brenner did a fine job as the shrewish Kottilska, although far younger and more attractive that the usual Katisha.

All of the smaller roles were similarly well handled, and the costumes were colorful and inventive, especially those for the chorus. The staging worked well, especially in view of the limited playing area. Much of the excellent 24-piece orchestra occupied stage left. With such compelling musical and dramatic aspects, we can have no greater wish than that each and every one of our readers could score tickets to the remaining performances Saturday and Sunday.

Lingering in our memory, from among all 24 delightful numbers is "Three Little Maids from School", The Mikado's "I've Got a Little List", Remmers' courtship of Kattilska in "Tit Willow", and Middle's solo "The sun whose rays". There was also a brilliantly composed sextet in Act II that was given a fine performance.

To close we would like to mention that no people of the Japanese nationality were degraded or insulted. 😂 Furthermore, we received no writing help from AI.  We own everything we spelled wrong or misidentified.  Never mind.  Go see it!!!!!

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