A CORNUCOPIA OF GOODIES

Nathan Milholin and Andy Berry in a scene from Prokofiev's "The Love for Three Oranges"

We always count on the Santa Fe Opera for five glorious operas every summer, but the highlight of our visit remains the two evening of Apprentice Scenes. The young singers of the Apprentice Program (established in 1957 and flourishing under the guidance of Artistic Director David Holloway) enjoy a summer of training and performance experience--in smaller roles, in Susanne Sheston's superbly rehearsed chorus, and on two Sundays the experience of performing in a selection of scenes--fully staged and costumed with piano accompaniment. Notably, the Santa Fe Opera was the first company in the United States to have established such a program.

The choice of scenes ranges far and wide, from opera house standards to rarities to new works. Last night, as usual, we had our favorites and some head-scratchers. But regardless of the choice of material we found the performances to be vocally and dramatically worthwhile.

For all around entertainment value, our first choice was Ravel's "L'heure espagnole", directed by Omer Ben Seadia. We have only seen this opera once since it is rarely performed, but it is filled with French farce type humor, dealing as it does with a cuckolded clockmaker and his wayward wife. His unanticipated homecoming necessitates the hiding of his wife's lovers inside some of the grandfather clocks in the shop. As the cuckolded clockmaker, tenor Adam Bonanni had just the right sound for the part and was helped in his humorous presentation by the costume design of Jean-Luc DeLadurantaye--that of a pagliaccio--or Pierrot.

Mezzo-soprano Anne Marie Stanley was delightful as the wayward wife. Her three lovers were excellently portrayed by baritone Brian Vu in full toreador regalia, tenor Stephen Carroll, and bass-baritone Nathan Milholin who had quite a time extricating himself from his hiding place. Their congo line dance just added to the fun.

The Ping-Pang-Pong scene from Puccini's Turandot always provides some comic relief and speaks to us as the plaint of Everyman, who would love to escape his job and retire to the country. Director Kathleen Clawson directed a pleasingly traditional scene of the three functionaries of Ancient China, men who never know whether to plan for a funeral or a wedding. Resplendent in authentic Mandarin costumes (designed by Brenda Birkeland), baritone Dogukan Kuran and tenors Eric Ferring and Andrew Maughan passed the vocal ball back and forth in a highly entertaining fashion. It was a true treat.

The previous night's Lucia di Lammermoor left us in a Donizetti mood and we were glad to see a scene from L'elisir d'amore on the program. Director Crystal Manich's decision to update the action to the ugly 1950's and to change the setting to a soda parlor robbed the scene of the intended impact.  Poor Nemorino was obliged to get intoxicated by an ice cream soda in place of the requisite wine of Dr. Dulcamara; this just didn't make dramatic sense to anyone who knows the opera.

But tenor Carlos Enrique Santelli (just reviewed as Arturo in Lucia di Lammermoor) has a real flair for Donizetti and shone in the role, in spite of the ice cream soda! A clever directorial touch was having him bang the keys of the cash register in time with the music. Soprano Abigail Rethwisch made a lovely Adina, deftly conveying the ambivalence she feels toward Nemorino and the crack in her resistance. Baritone Christopher Kenney successfully created the role of the blustery Belcore and sang in rich full tone.

Rienzi will never be our favorite Wagnerian opera but we definitely enjoyed hearing tenor Stephen Martin (just reviewed as Normanno in Lucia di Lammermoor) sing the title role with authoritative colors and stage presence. As his sister Irene, soprano Tracy Cantin impressed us with her fine singing but Amanda Clark's unflattering wig failed to score. In the trouser role of Adriano we heard mezzo-soprano Hannah Hagerty.  We enjoyed the trio which closed the scene for the tasteful blending of voices. For some strange reason, this tale of 14th c. Rome was updated by director Crystal Manich to something approximating the early 20th c.

Giuseppi Verdi put in an appearance by virtue of a scene from Un ballo in maschera, effectively directed by Susan Payne. One doesn't expect to hear young voices tackle Verdi but soprano Kasia Borowiec showed promise in the role of Amelia with Jorge Espino taking the role of the very angry Renato. The two men initiating the plot to assassinate the Duke, Sam and Tom, were played respectively by bass-baritone Erik van Heyningen and baritone Andy Berry. The duet between Renato and Amelia was most affecting but the final quintet was imperfectly balanced. Soprano Joanna Latini sang the role of Oscar with beautiful tone; a bit more attention to accuracy with the short notes would have made it perfect.

The scene from Benjamin Britten's A Midsummer Night's Dream was peculiarly staged by Mr. Seadia. The scene involves the romantic misadventures of Shakespeare's four young lovers lost in a forest near Athens. Here, they are in something resembling a dormitory with four beds and in various stages of undress (costumes by Ruby L. Rojas). Fortunately, the fine singing made up for the strange and distracting setting. The performances were quite physical and succeeded in conveying the Bard's sense of humor. 

Mezzo-soprano Kristen Choi impressed us with her vocalism in the part of Hermia; she doesn't know what to do with all that unexpected male attention. Soprano Adelaide Baedecker made a fine Helena, suffering the loss of love of her Lysander (tenor Jesse Darden) with baritone Thaddeus Ennen completing the quartet in the role of Demetrius.

Prokofiev's The Love for Three Oranges was staged by Susan Payne as the fairytale it is. Prokofiev's music for the scene begins with some insistent chords and the stage was dominated by a large multi-colored proscenium arch. Morgen Warner's costumes were appropriately fantastical. The problem was that the scene did not offer the young singers much opportunity to show off their vocal skills. That being said, we did enjoy the humor and fantasy. Mr. Berry made a magical magician in his golden cape, and bass-baritone Nathan Milholin was funny with his feathered fan. Mr. Maughan made a fine Prince, strangely attired in a night shirt; Mr. Darden portrayed the Prince's companion Truffaldino attired in a suit.

We cannot say too much about the scene from Paul Moravec's The Shining. We found the music lacking in the very qualities that make us want to listen, and the scene itself did not hold our interest. Baritone Kenneth Stavert sang the role of an ex-alcoholic starting a new life in a boiler room.  Mr. Carroll portrayed a ghost in the hotel. The libretto did not strike us as singable. We did enjoy Mr. Carroll in L'heure espagnole and hope to get another opportunity to hear Mr. Stavert in music kinder to our ears.

It was a fun evening and we find ourselves trying to anticipate which of these promising artists will thrive in their professional careers and return to the Santa Fe Opera stage.

(c) meche kroop

FEATHERS, FUR AND FRUIT

Seth Shirley as Lysander getting the love potion from Drew Paramore as Puck
photo by Brian Long

The score of Henry Purcell's 1692 masque opera The Fairy Queen was lost upon his death and rediscovered a bit over a century ago.  This obsolete theatrical medium has been made relevant by Dell'Arte Opera Ensemble; they made good use of the directorial and choreographic artistry of the esteemed Christopher Caines.  One might say that Purcell's work was "more honor'd in the breach than the observance", to quote the Bard himself.  So, five hours was trimmed down to three, some original text restored and some contemporary references added as a framing device.  The melodic Baroque music was preserved and various types of dance included.

It must have been a challenge to find performers who could sing and dance as well. All the voices were fine but we were most impressed with sopranos Noelle McMurtry (whom we reviewed before) and Tamra Paselk (who was new to us).  They captured the Baroque style with pure tones that floated beautifully in the upper register.

We were familiar with baritone John Callison (also reviewed previously) and were impressed by how his voice has grown in depth.  It was always firmly structured and his phrasing was lovely.  Bass Andy Berry impressed with his secure sound.  Tenor Leslie Tay exhibited fine dynamic control.  Countertenor Brennan Hall was hilarious in drag in a duet with Mr. Callison in which he portrayed a maiden unwilling to be kissed.

The marvelous music was provided by The Sebastians, a well-known Baroque ensemble we have often heard at Salon Sanctuary concerts.  Co-director Jeff Grossman conducted his able musicians from the harpsichord and one could not ask for anything more. Notable were lutenist/theorbist Charles Weaver and cellist Ezra Seltzer.

The performer who virtually stole the show was Drew Paramore in the role of Puck, dba Robin Goodfellow.  We cannot sufficiently praise his wonderful dramatic skills and high energy performance.

Another high note of the evening were several pas de deux performed by Aynsley Inglis and Luke Tucker.  Classical ballet would not evolve from Baroque dance for another two centuries after Purcell's time but who cares!  We welcome any opportunity to see a beautiful couple using the vocabulary of classical ballet in such a fine fashion.

The effective framing device established by Mr. Caines is that a nanny named Carmen (Elisa Toro Franky) is walking in Central Park and her charge Ariel (Gabriel Griselj) is kidnapped by the fairies.  Not to worry, he gets returned at the end.  The fairies of Central Park just love to tease and pinch and tickle unsuspecting humans and, in this case, had a fine time with a pot-smoking slacker.

The scenes from Shakespeare were well directed and acted but the spoken dialogue lacked the poetry one would hope for.  Imani Jade Powers portrayed Titania and also Hippolyta.  Jason Duverneau enacted Oberon and also Theseus.  Seth Shirley was Lysander and Zach Libresco was Demetrius.  The scenes of their rivalry were particularly funny. Cassandra Stokes Wylie made a fine Helena but, as Hermia, Amanda Goble spoke without poetry in an unpleasant high-pitched voice.  Nonetheless, her very physical acting served her well.  A scene from Oscar Wilde's The Importance of Being Earnest revealed just how fine their acting skills were without the challenge of speaking the Bard's poetry.

As Nick Bottom, Andrew Gelles excelled.  The "mechanicals" were transmogrified into an acting troupe and Nick Bottom wanted to assume ALL the parts.  His transformation into a donkey was achieved with a large construction that permitted his words to be heard.  If Titania's affection for the donkey did not make you laugh, then nothing would.

Costuming by Nina Bova was exceptional.  The fanciful fairies bore feathers, fruit and fur.  The two couples with their mating problems were meant to be Dalton graduates on their way to Ivy League universities.  They were identified by Puck by means of the Brooks Brothers labels in their clothing.

The program notes, written by Mr. Caines, contained a fine description of the origins of masque opera and the history of the period from whence it arose. It was clear from the performance that he labored long and hard to apply his artistry and to make the work relevant.  He absolutely succeeded!

(c) meche kroop