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.

© meche kroop