ROMAN (un)CIVILIZATION

Andrew Munn, Cody Quattlebaum, Avery Amereau, Nicolette Mavroleon, Onadek Winan, Samantha Hankey, and Jakub Jozef Orlinski (photo by Richard Termine)

It is a most unusual occurrence for us to wish to see a production a second time immediately after the first time, but if Juilliard's production of Handel's Agrippina were to be repeated we would be over the moon. Thanks to some highly creative direction by Louisa Proske, superlative singing by a dazzling cast, and impressive playing by the musicians of Juilliard 415, Handel's entry in the 1709 Carnevale season "sweepstakes" was a major hit.

From our point of view, it was a grand privilege to be among the small audience fortunate enough to get a seat in the intimate Wilson Theater. But we could not help feeling sorry for opera lovers who did not get the same opportunity. The production deserves to be seen by a wide audience.

Handel was but 24 years old when he composed his first true operatic masterpiece and seems to have mastered the art of setting the Italian language, delighting the audience with nearly 50 gorgeous arias, many of them tailored from earlier works. In Cardinal Vincenzo Grimani, he found a fine librettist who played fast and loose with characters known from historical documents describing the waning days of the corrupt Roman Empire.

The work, although called an opera seria, is actually a black comedy that allows us to laugh at the machinations of evil people. The anti-heroine is the scheming Agrippina herself who will stop at nothing to position her son Nerone on the Emperor's throne--a subject tackled over 60 years earlier by Monteverdi in the darker L'incoronazione di Poppea.

In the title role, originally written for the soprano voice, mezzo-soprano Samantha Hankey was completely convincing as the grasping Empress, always devising convoluted schemes to dispatch her many enemies whilst convincing them that she was on their side. The vocal demands are many but Ms. Hankey produced gorgeous tones and showed no evidence of fatigue or strain. Her many facial expressions and gestures revealed her character--resolute, conniving, and power mad.

As her husband Claudio, bass-baritone Cody Quattlebaum turned in yet another perfect performance, nearly unrecognizable in elaborate makeup and even more elaborate wig. He created a character both bumbling and lascivious. His sound was generous and secure with a firm foundation.

Agrippina's son Nerone was portrayed as a spoiled weakling, hiding behind his mother's voluminous skirts. Soprano NIcolette Mavroleon bounded around the stage like the nasty youth he was supposed to be, playing violently with his military figures. Ms. Mavroleon handled the fioritura of her arias with great ease.

The only sympathetic character in the story is Ottone, and in this role we had the remarkable counter-tenor Jakub Jozef Orlinski. The role was written for a contralto but Mr. Orlinski sounds the way, we imagine, a castrato might have sounded (without sacrificing any body parts). There is a breadth and depth to his sound that we do not hear very often in the counter-tenor fach and it is astonishing. Equally astonishing is his physicality. When Ottone was happy, he somersaulted and cartwheeled around the stage.

Ottone is one of three suitors for the hand of the vain and superficial Poppea, the others being Claudio and Nero. The role of Poppea was performed in high style by soprano Onadek Winan who played her as a bimbo. She was particularly fine in "Vaghe perle, eletti fiori."

At first she was deceived by Agrippina's deceitful offer of friendship but the second time she too became filled with vengeance and established her own plot.

Two characters are enlisted by Agrippina to serve her ends but they too suss out her deceitfulness and rebel. The role of Narciso, written for alto castrato, was magnificently performed by mezzo-soprano Avery Amereau. The program lists her as a mezzo-soprano but our experience of her unique vocal timbre has us thinking "contralto". So many mezzos sound alike but Ms. Amereau sounds like no one else. It is a gorgeous sound and one that lingers in the ear. Furthermore, the artist had such fun with her role, creating a character as unique as her voice.

Baritone Jacob Scharfman sounded excellent in the role of Pallante, one which we believe was originally written for the bass fach. He too created a unique character, given to foppery and elaborate gestures.

As the slave/messenger Lesbo, Andrew Munn sang well and provided humor as he tried to get Claudio away from Poppea when Agrippina was approaching.

Much of the success of the creation of individual characters goes to director Louisa Proske. Co-Director of Hearbeat Opera, we have thrilled to the originality of her vision on a number of occasions. We have been highly displeased by the work of directors hauled in from film work who are ignorant of opera and create productions that may film well but are unkind to singers. On the contrary, Ms. Proske really knows her stuff and can create vivid dramatic pictures whilst maintaining the integrity of the vocalism.

Additionally, she was able to provide stage business that seemed to motivate vocal flourishes.  As an example we cite Poppea's opening a golden cask and launching into some impressive coloratura as she finds the strands of pearls

Part of the effectiveness evolves from movement training and no doubt Emma Jaster made significant contributions in establishing a unique movement style for each performer. This is particularly useful when vocal colors and phrasing are somewhat limited by the Baroque style.

Beth Goldenberg's costumes were extravagant and dazzling. Homage was paid to the Baroque period with baroque perukes and the lines of the women's gowns. The Roman period was acknowledged by the presence of togas and breastplates. Contemporary fashions made an appearance in Nerone's gold athletic shoes. In lesser hands this could have been an atrocious failure but Ms. Goldenberg's skill and taste made everything work together.

Kate Noll's set was nothing less than miraculous. With the audience seated on three sides of a rectangle in this black box theater, the center was occupied by a room with very low defining walls which were actually benches for sitting, covered with motley rugs and pillows bringing in touches of Asia and Africa. The universality of the story struck home with great force. One wonders if our country faces the same fate as the decadent Roman Empire!

Lighting by Oliver Wason was effective.

Let us not neglect the splendid playing of Juilliard 415, a preeminent period instrument ensemble. Maestro Jeffrey Grossman conducted from the harpsichord with Eunji Li on a second harpsichord. Violinists were Jeffrey Girton and Augusta McKay Lodge; violist was Alana Youssefian; cellist was Matt Zucker; bassist was Hugo Abraham. Fiona Last and Welvin Potter harmonized with the singers by means of oboe and recorder. Neil Chen played bassoon and the pair of theorbos were played by Adam Cockenham and Arash Noon.

(c) meche kroop

CHILLS AND THRILLS AT CARNEGIE HALL

Önay Köse, James Edgar Knight, Joshua Gersen, Avery Amereau, and Raquel González

As if Beethoven's Ninth Symphony were not sufficiently thrilling, we got to witness the Carnegie Hall debuts of four of our favorite Juilliard graduates who took on the roles of soloists in the famous fourth movement--The Ode to Joy.  What a joyful afternoon it was for performers, audience, and for us. 

In the lyrical third movement (Adagio molto e cantabile) a rising fanfare announces the excitement to come. The impressive New York Youth Symphony, which has been performing for over a half century, showed particular strength in the lower strings with dynamic control and clarity of attack.

And then bass Önay Köse took over the bass solo with his booming voice and majestic phrasing. An emotionally penetrating sound was achieved by tenor James Edgar Knight.  The voices of mezzo-soprano Avery Amereau and soprano Raquel González literally sailed over the orchestra.

The New York Choral Society, under the direction of David Hayes, handled the rest with crisp diction and a warm sound perfectly suited to the inspiring text. The entire affair was conducted by Joshua Gerson who was far more intense in his conducting than in a prior work.  It was as if the majesty of the music brought out the best in everyone.  Even the unruly horns were on their best behavior.

This was our second Beethoven symphony this week and we never fail to appreciate the master's sense of structure and inventiveness, not to mention the unity of the movements achieved by motifs running throughout. In this piece however, we always feel as if we are at a splendid meal but somehow aware of the dessert to come--the sweetness of brotherhood and the mood of rejoicing.

The curtain raiser was Rossini's Overture to La Gazza Ladra in which the energetic young conductor Harrison Hollingsworth created quite a riveting figure on the podium with his flowing blond locks and athletic body. The young musicians responded well to his intense style.  A drumroll paved the way for a theme in march rhythm with those unruly horns cracking left and right. Following on its heels a familiar theme in the strings that is quintessential Rossini. A spritely way to begin the afternoon!

The remainder of the first half of the program comprised the première of an interesting piece by the young Molly Joyce entitled Fresh, which was commissioned by the New York Youth Symphony's First Music program.  It stood very well on its own merits except for needing more of a climax. Ms. Joyce wrote in the program that she aimed to have the orchestra take over the rhythm of the percussion section.  This, sadly, we did not hear but that is a small matter since the piece spoke for itself of a budding compositional talent. What we did like was the portentous nature of the theme in the drums and lower strings. 

It was a pleasure not only to see our much admired singers onstage but to hear the fine accomplishments of the New York Youth Symphony. The organization is nationally recognized for orchestral training, conducting, chamber music, jazz and composition--all tuition-free, made possible by scholarships on merit-based auditions. Talented teens need apply.

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BEST. CARMEN. EVER.

Avery Amereau and Victor Starsky

We realize that calling New York Opera Exchange's Carmen the best Carmen ever is quite an extravagant statement. But this is the first time we have been totally absorbed in a production from the opening note of the overture until Carmen dies in the arms of her lover and murderer Don José. We have seen and heard this opera dozens of time and are usually quite restless by Act IV and have been known to mutter sotto voce "Kill her already!"

Let us first give credit where credit is due. To begin with, the role of the eponymous heroine was brilliantly sung and acted. Mezzo-soprano Avery Amereau has a thrillingly dark instrument and employs it so effectively that one is never aware of the technique, only aware that she is completely in the moment and giving 110%. After the first couple minutes we forgot that her fine-featured face looks nothing like that of a gypsy. The way she used her body embodied the free-spirited and rebellious nature of the character in a way never before seen by us. It surely came from a deep inner place and was not, as with most Carmens, a case of "acting sexy".

Secondly, we credit the director Matt Dickson who, surprisingly, is new to the world of opera. He apparently applied everything he knew from the world of theater without interfering with the singers' ability to function vocally. There were countless examples of stage business that supported the interactions of the characters and also served to establish the cultural milieu in which the characters were interacting.

This was an authentic Carmen, true to time and place. (We loathed the Carmen set in the 1950's and had no use for the one set in Franco's Spain.) In this corner of Seville, in this particular production, there was tension between the townspeople and the military; they tolerated one another but there was the feeling that a simple confrontation could erupt at any moment into a conflagration. This atmosphere of tension reflected and contributed to the tension between the characters.

Thirdly, we credit the superlative conducting of Alden Gatt. The full-sized orchestra was placed in front of the audience and during the prelude we had a moment's concern about the volume but Maestro Gatt wisely balanced the sound so that it supported the singers and never drowned them out. The flute and oboe solos were particularly lovely.

Tenor Victor Starsky made a fine Don José who grew in dimension as the story progressed. He began as a rather buttoned-up fellow with his future already determined. As Carmen wove her spell upon him he became expressive, conflicted, passionate, and insanely jealous. By Act IV, he had completely decompensated--wild-eyed, wild-haired and desperate. His Act II aria "La fleur que tu m'avais jetée" was stellar.

The role of Micaëla, the sweet innocent girl whom Don José is supposed to marry, was winningly performed by soprano Kaley Lynn Soderquist whose bright lovely instrument was perfect for the role. Her Act III aria "Je dis que rien ne m'épouvante" was a convincing blend of terror, courage and faith.

Bass-baritone Kian Freitas sang the role of Escamillo and sang it well but could have used more arrogance in his voice and in his body language. We had the same observation of one of the last Escamillos we saw at the Met. We want to see a torero who struts around with shoulders back and head held high, signalling confidence.

As Carmen's two friends Frasquita and Mercedes, we were very pleased with the performances of NYOE favorite Nadia Petrella who has a fine bright soprano just right for the part of Frasquita and mezzo Kate Farrar who made an excellent Mercedes. For some reason, Costume Designer Taylor Mills, who did a splendid job on all the other costumes, dressed these two singers in hideous short satin skirts and street shoes, even as they trekked up the mountains. Give those girls some boots!

We further enjoyed tenor James Grandjean as Le Remendado and baritone Andrew Luzania as Le Dancairo. The Act II ensemble when these smugglers are making their plans with the women "Nous avons en tête une affaire" was excellently harmonized.

Bass Costas Tsourakis made a suitably repellent Zuniga with a nice booming sound and baritone Jonathan Christopher was fine as Morales.

The chorus of townspeople contributed to the proceedings and managed to distinguish themselves as individuals, thanks to the good stage direction. The children's chorus had only one young man and it was a bit strange to see a group of female children imitating soldiers.

The set by Gabriel Firestone was simple but effective and was lit by Kimberlee Hurley.

Georges Bizet composed Carmen in 1875 with a libretto by Henri Meilhac and Ludovic Halévy for the Opéra Comique in Paris. It had spoken dialogue and was presented as music theater. It was considered scandalous because of the sexuality and violence. It later came to be considered grand opera with the addition of accompanied recitativi by Ernest Guiraud. It has been a favorite in the canon ever since.

It was brave of NYOE to tackle such a work but we were thrilled with the intimacy and never missed the parade of picadors in Act IV or the mountains in Act III. With acting and singing this good, the imagination supplies the rest.  We have watched NYOE grow over the past few years; the quality keeps improving. We have seen the future of opera in New York City and it's looking great.

(c) meche kroop

A-VERY FINE RECITAL

Sophia Muñoz and Avery Amereau

Let us begin by saying that we love Avery Amereau's voice.  We have enjoyed listening to her as she made her way through the Juilliard Vocal Arts Department and last night's recital marked her upcoming achievement of a Master of Music degree. So many singers who are billed as mezzo-sopranos sound like sopranos who don't have the high notes; not so Ms. Amereau whose voice reminds us of a creamy chocolate stout, or maybe a Guinness. It is a very special voice.  A true mezzo.

Last night we heard her sing Bellini with a warm Italianate song, Poulenc with fine French diction, Brahms in perfect German, and English in an emotionally demanding piece by Britten.

Bellini's songs require a long sustained line and Ms. Amereau's phrasing was just right. We loved the choice of songs which were all familiar to us. "Malinconia, ninfa gentile" has such a lilting melody but perhaps our favorite was "Dolente immagine di Fille mia" with its sorrowful image. The long lines were beautifully embellished.

In "L'abbandono" we appreciated the phrasing and dynamic control. In "Torna, vezossa Fillide", Ms. Amereau gave equal attention to tempi and to color, especially at the transition from major to minor key, as did Ms. Muñoz.

Poulenc's Banalités are always fun and we generally seem to favor the shorter ones like the languorous "Hôtel" and "Voyage à Paris", filled as it is with charm and excitement. In "Sanglots" we heard some really fine piano work from Ms. Muñoz.

Thanks to Ms. Amereau's programming skills, we heard for the first time (and hope it won't be for the last time) Two Songs for Viola and Alto, Op. 91 by Brahms. With the fortunate participation of violist Matthew Lipman we heard "Gestillte Sehnsucht" and "Die ihr schwebet" with its two catchy melodies, one in the viola and the other in the voice.  Supported by Ms. Muñoz on the piano, the artists played off one another to the delight of our happy ears.

Our ears were not so happy with Britten's Phaedra. Readers may have anticipated that this 20th c. work would not be our favorite. It was very intense and we could admire the artist's delivery without wanting to hear it again. It is an emotionally demanding work and Ms. Amereau had the goods to deliver. We just didn't think Greek tragedy required such a musical interpretation. The words could have done as well in a dramatic reading.

We are happy to report that Ms. Amereau can be seen and heard in Carmen at the New York Opera Exchange, coming up in May. We are seriously excited about this and hope you will be as well. Watch on our Facebook page (Voce di Meche) for further announcements.

(c) meche kroop

THE WEARIN' O' THE GREEN

Front Row:  Peter Manning, Rachel O'Byrne, Dearbhla Maire Collins, Miles Mykkanen
Second Row: Avery Amereau, Rebecca Rodgers, Iain Burnside and Conor Hanratty
Third Row: Andrew Gavin, Sam Lilja, William Kelley and Angela Vallone

A stirring program outside of the usual is always welcome and last night's program at Juilliard--"Ten Thousand Miles Away"-- offered an opportunity for a trans-Atlantic collaboration between The Royal Irish Academy of Music, the Juilliard School, and The Lir National Academy of Dramatic Art in Trinity College Dublin.  Students from the Ellen and James S. Marcus Institute for Vocal Arts at Juilliard and students from Ireland participated in the program which was conceived by Iain Burnside and directed by himself and Conor Hanratty.

Last week the program was presented at LNADA in Dublin and this week presented here.  We found it absolutely enchanting, as we did the visitors from overseas.  The program was meaningful in several ways.  For one thing, the music that was chosen came from all genres and all were treated respectfully.  This can be considered a furtherance of our awareness from last night's NYFOS recital.  The program produced the same awareness of Ireland's musical heritage as last night's program produced for Italy's.

For another thing, it made us aware that, unless we are 100% Native American, we have all had ancestors that left the security of their homelands, bid farewell to loved ones, and set out for a new country to which they were obliged to adjust.  The main difference today is that most immigrants are able to return home to see those they left behind.  At the turn of the 20th C. the voyage by ship was a long arduous one and farewells were painfully permanent.  Of course there are many plays about the immigrant experience, especially Irish plays.  Still, there is something particularly poignant and universal about music.

In this case, printed programs were withheld until after the performance ended; this was a wise decision, permitting the audience to be totally present and not busy figuring out the program.  The directors made sure that the artists moved onstage in meaningful clusters and in a manner that heightened the drama. There was even some spritely folk dancing.

There were art songs by Samuel Barber, Ben Moore, and Frank Bridge and folk songs woven together with readings from Irish writers about the immigrant experience. Actors Sam Lilja and Rachel O'Byrne handled the readings beautifully. There was love and sex and religion.  There were texts from James Joyce, of course.

Juilliard soprano Angela Vallone and Dublin soprano Rebecca Rodgers were equally lovely and Juilliard mezzo-soprano Avery Amereau showed impressive depth of color. Juilliard tenor Miles Mykkanen used his versatile tenor in a new way and shared tenorial duties with the fine Dubliner Andrew Gavin.  Both excelled in conveying the feeling tone of the songs.  The sole baritone Peter Manning more than held up his share of the music-making.

Collaborative pianists also came from both sides of the Atlantic with Dearbhla Máire Collins sharing duties with William Kelley. There was always a special lilt to the music. The program was seamless without the usual pauses for applause resulting in an intense experience of the trials and tribulations of leaving, arriving and trying to assimilate.  This program achieved what the St. Patrick's Day Parade, with all its politics of pride had failed to do for us--to give us that special Irish flavor and a deep appreciation for a special people.

We cannot help but think that there might be musical solutions to the ubiquitous misunderstandings extant among the world's cultures today.  If only!

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ENJOYING RAPE

Kurt Kanazawa and Avery Amereau (photo by Ken Howard)

We are filled with wonder whenever brought to the point of appreciating that which we might have disdained.  Whom do we credit for the reversal of taste?  In the case of Benjamin Britten's The Rape of Lucretia, credit must be shared by the super-talented young artists and the incredibly astute production team.

The libretto by Ronald Duncan did not sound promising; the evil Etruscan prince Tarquinius rapes the faithful wife of Collatinus, his comrade in arms. But look what director Mary Birnbaum has made out of this slender story.  She has placed the Greek chorus firmly in the 21st c., allowing them to comment on the story through the prism of Christianity and also to address the characters in this 500 BCE story. For the most part, the narrators appear to be reading from a history book.  She has mined the tale for contemporary relevance, highlighting the contrast between the creative productivity of women and the destructive power-seeking and war-mongering of men.

Jocelyn Dueck merits special mention for getting each and every artist to enunciate each and every word clearly so that not a single word was missed, thereby overcoming our dislike of operas sung in English.  The dialogue, based on Le Viol de Lucrèce, a play by André Obey, has language that rivals that of Homer with some beautiful metaphors that deserved to be heard and savored. They were.

And what a cast!  There is such strength in Juilliard's Vocal Arts Department that each role could be perfectly cast.  As the eponymous Lucretia, mezzo-soprano Avery Amereau fulfilled the demands of the role both vocally and dramatically.  She has a rich and resonant instrument that she employs skillfully and flawlessly.  Dramatically, she was totally convincing as the beautiful and innocent Lucretia who, in a fit of self-directed "slut shaming", stabbed herself after being raped.

As the rapist, the good-natured baritone Kurt Kanazawa transformed himself into an arrogant entitled brute who cannot bear the fact that his fellow comrade-in-arms Collatinus is married to the only faithful woman in Rome.  His mellow voice was given a bitter edge that was chilling. His wild ride into Rome was breathtaking.

As the aforementioned Collatinus, bass Daniel Miroslaw, whom we had not previously heard, made a fine showing--the only sympathetic male character amongst the warriors.  We look forward to hearing his booming bass in the future.

Baritone Joe Eletto portrayed Junius, another soldier, with great vitality.  He too has been cuckolded and feels resentment toward Collatinus' good fortune but would not act on it.  All the ambivalence was there in his wonderful voice and body language.

The three military men have a wonderful scene in their encampment outside Rome as they malign women and strut about emanating testosterone-fueled rage.  It was made clear how humiliation leads to rage and that rape is an act of rage, not sex.

Tenor William Goforth beautifully handled the role of narrator (Greek chorus), telling the story in a meaningful manner and with supernally clear diction. Mezzo-soprano Marguerite Jones held up the female part of the chorus with her customary skill.

As Lucretia's two women servants, mezzo-soprano Amanda Lynn Bottoms impressed as the maternal Bianca as did soprano Christine Price as Lucia.  One of our favorite scenes was that of the three women joining voices in a stunning trio while spinning wool on spindles.  Might we add that they appeared to know exactly how this task is accomplished!  Britten's music at this point was extraordinarily lovely.

The opera itself was composed by Britten as one of a group of chamber operas written in the impoverished post-World War II period when faith and funds were in equally short supply. Members of the excellent Juilliard Orchestra, under the baton of Mark Shapiro, brought the compelling score to vivid life.  We do so love the harp and Marion Ravot's playing was ravishing. The wind section was particularly well employed.

The simple but effective set by Grace Laubacher comprised a simple table and chairs for the two narrators and a large rotating platform for the historical scenes. Lighting was by Anshuman Bhatia. Costumes by Sydney Maresca were effective, particularly the soldiers' garb. Adam Cates choreographed Tarquinius ride and the rape scene most grippingly.

Who could ask for anything more?

© meche kroop

JEROME KERN VIA NYFOS

Mary Feminear, James Knight, Hannah McDermott, Alexander McKissick, Avery Amereau, Josph Eletto, Benjamin Lund and Steven Blier

It was the final "Sing for your Supper" of the season--therefore a bittersweet occasion as the young stars of NYFOS AFTER HOURS made their final appearance before departing for various young artists programs around the world.  We have taken so much pleasure in their performances all year, we wish them well in their summer programs and we can hardly wait for their return.

Last night's program centered on the lyrics of P.G. Wodehouse as set by Jerome Kern, with a couple songs by Cole Porter thrown in for good measure.  Steven Blier (Pianist, Arranger and Host) gave us the lowdown on Mr. Wodehouse's primness and Cole Porter's raciness.  He described Kern's music as akin to Schubert's and indeed, tenor Alexander McKissick's performance of "Go Little Boat" from Miss 1917 struck us as deeply as any of Schubert's lieder.

Baritone Benjamin Lund's artistry in "The Land Where the Good Songs Go" from the same work was equally beautiful.  Could this show really be nearly a century old?  We wish we could see it reprised one day but only if it were done with the same sincerity we heard from Mr. Lund and Mr. McKissick.

Soprano Mary Feminear allowed her sincerity to shine through as well in her lovely performance of the original "Bill", which began life in another show before winding up in Showboat.

Avery Amereau used her dusky mezzo to great advantage in "Siren's Song" from Leave It To Jane.  To add to the overall effect she dressed herself as a flapper!  It was delightful.

Baritone Joseph Eletto sang "My Castle in the Air" from Miss Springtime with the most affecting vibrato and phrasing. He was joined by the very funny tenor James Knight for an hilarious duet from the same show entitled "Saturday Night" about a woman who began the week with virtuous intention but whose "virtue sprang a leak" by the end of the week.  Priceless!  Mr. Knight's solo "Napoleon" from Have a Heart was LMAO funny, not only from the lyrics and his comedic style but also from the fact that he is 6'4".

There were other funny songs--mezzo Hannah McDermott delighted with "Cleopatterer" from Leave it to Jane.  Mr. Wodehouse could certainly come up with some clever rhymes.  She was just as delightful in the opening trio with Mr. Knight and Mr. Lund from the same show--"Sir Galahad', the message of which, strangely enough, did not sound at all dated.

More humor, and perhaps one of the funniest songs on the program, could be found in "We're Crooks" in which Mr. McKissick and Mr. Lund adopted heavy wise-guy accents.  What made the song very timely were the references to Congress and Wall Street as being too crooked for the crooks' taste!

Mr. Blier considers Jerome Kern to be rather refined and Cole Porter to be rather risqué.  The two songs chosen to be on the program to represent Mr. Porter were "You're the Top" and "Anything Goes", both of which were performed by the ensemble.  It appeared that they enjoyed themselves as much as the audience.

This entire affair was staged by the brilliant director Mary Birnbaum, ensuring that each song's dramatic potential was mined.  One doesn't get this quality in the typical cabaret show!

It was a most enjoyable evening and an introduction to many songs we had never met before but of which we were delighted to make the acquaintance.  The only thing missing was Miles Mykkanen singing "Sing for Your Supper".

 © meche kroop

IF THE SHOE FITS....

Julia Bullock, Lacey Jo Benter, Elizabeth Sutphen (photo by Nan Melville)

It was a triumph of casting, staging and performance last night as Juilliard Opera presented Jules Massenet's 1899 opera Cendrillon.  Although updated to post-World War II Paris, the spirit of la belle époque shone through in the charming melodies and romantic sentiment.  If you did not smile from ear to ear when Lucette was reunited with her Prince Charming then you are immune to joy.

The libretto by Henri Cain hews closely to the Perrault fairy tale, as Rossini's Cenerentola (seen across the plaza at The Metropolitan Opera) does not.  The starring role was wisely given to the incomparable soprano Julia Bullock who is currently rocking the opera world with her gorgeous voice, stage presence and dramatic skills.

Here, she has created a truly lovable character who is not quite downtrodden, just neglected.  Her role gave her a chance to portray effectively a wide range of emotions, including terror.  Her opening aria showed her nobility of character.  Her duets with Prince Charming and with Pandolfe were equally memorable.

Poor Papa Pandolfe (the fine baritone Szymon Komasa) is the ultimate henpecked husband of the imperious and unpleasant Madame de la Haltière, brought to vivid life by the superb mezzo Avery Amereau.  Clearly, this character in this production gets by on the basis of stunning good looks and an acute sense of fashion!

Her daughters Noémie and Dorothée (here performed respectively by the excellent soprano Lilla Heinrich Szász and the fine mezzo Marguerite Jones) are neither vicious nor ridiculous, only privileged and controlled by their helicopter mother.  Indeed, one might say the story unreels as a domestic drama about a dysfunctional family.

But then, there is the magic of the fairy-tale component, so inextricably woven together with the reality.  And oh, what a piece of magic is soprano Elizabeth Sutphen whose thrilling coloratura nailed the florid trills and turns and runs of the Fairy Godmother. 

In the travesti role of Prince Charming, Lacey Jo Benter was completely believable as the bored and lonely prince whose father (the excellent bass Önay Köse) wants him to marry.  Ms. Benter sang with a warm tone, lovely phrasing and nearly perfect French diction (confirmed by our native French-speaking companion), obviating the need to look at the sur-titles.  Come to think of it, that was true for the rest of the cast as well.  What a treat it was to just sit and listen without reading!
 
 In the roles of the Prince's staff, we enjoyed tenor James Edgar Knight and baritones Kurt Kanazawa and Joe Eletto.  We couldn't imagine better casting.

The Juilliard Orchestra, always excellent, responded to the lively conducting of Emmanuel Villaume, who also addressed the audience in the persona of Charles de Gaulle, a fine touch.  The music ranges from sweet gentle love melodies to the rapid-fire and energetic music of the bickering family, while the fairy music has an other-worldly feel.  All were effectively communicated.

A fine directorial hand was shown by Peter Kazaras.  It was an interesting choice to set the piece in 1947, the only anachronism being the presence of a king and a prince.  However, the directorial choice allowed for some interesting sets and costumes.  Sadly, the extensive ballet was cut.

Scenic Designer Donald Eastman created a very authentic appearing bistrot, complete with Thonet chairs.  Lucette's step-mother was the proprietress with Papa being the barman.  When the fairy godmother gets Lucette and the Prince together, it is not in a garden but in a cinema.

Costumes were witty and accurate to the period with Lucette's ball gown evoking Dior's "New Look" in Schiaparelli pink--simply gorgeous.  The Fairy Godmother looked rather prim with eyeglasses and a tailored suit.  Her six helpers were dressed like bellboys; think vintage Philip Morris advertisements.  In a stroke of luxury casting, we heard Kelsey Lauritano, Nicolette Mavroleon, Hannah McDermott, Mary-Elizabeth O'Neill, Kara Sainz and Angela Vallone.  We heard them but we would never have recognized them in those costumes and wigs.

We have only seen this opera once before, in Santa Fe about 8 years ago.  Joyce DiDonato sang the lead, Eglise Gutierrez sang the Fairy Godmother and Jennifer Holloway sang the Prince.  Our notes read (verbatim) "Best opera of the Santa Fe season.  Original costumes, colorful and outlandish".  Now we have two stellar productions to hold in our memory.

© meche kroop

OLD WINE IN A NEW KEG

 Takaoki Onishi and Raquel Gonzalez (photo by Richard Termine)

We are thrilled to the bone after another splendid evening at Juilliard, witnessing the gifted young artists of the Juilliard Opera bring new life to Tchaikovsky's Eugene Onegin.  It's not as if we have anything against the several traditional productions we have seen; it's just that this chamber reduction allowed us to experience the story and the music in a new way.  Discovering something new is always a treat.

Director Mary Birnbaum has mined the story and found gold.  By focusing on the four young people at its core and emphasizing the psychological aspects, she has revealed the opera's heart; it's a coming of age story.  Each singer has plumbed the depths of his/her character and come up with meaningful and dramatically valid choices.

As Tatiana, soprano Raquel González captured all the vulnerability and recklessness of a girl's first love, having no trouble looking about 16 in pigtails.  In the final two scenes, she demonstrated the poise of a woman who has been married to a Prince for perhaps 6 years and has firmed up her boundaries, so to speak.  Although she is still in love with Onegin, she will not dishonor her husband.  She used a multiplicity of vocal colors as well as posture, gesture and facial expression to convey her maturation.  Her fine instrument and diction served the character and was never used to call attention to itself.

Likewise, Takaoki Onishi's creation of the eponymous Onegin was creative and original.  He avoided the clichés of arrogance but evinced a character that was perhaps 19 years old and full of himself in the opening scene when he meets Tatiana.  He thinks he knows himself--a man who could never love and settle down to domesticity.  He is only as honest with Tatiana as he is with himself; he suffers from the blindness of youth. He is not cruel to her; he seems almost avuncular as he advises her to keep a lid on her passions.  He acts out his boredom with country life by flirting with his friend's sweetheart--provocative in the way a thwarted teenager can be.  When the situation goes too far, he is remorseful but he cannot put a halt to the chain of events he has initiated.  By the end of the opera, he realizes he has ruined his life.  The tumultuous emotions never interfered with Mr. Onishi's luscious baritone sound.

Lensky was so stunningly portrayed by tenor Miles Mykkanen that we wept for his youthful benightedness.  At the beginning he is carefree and madly in love with Olga.  He endures paroxysms of jealousy when Olga responds to Onegin's overtures.  Again, we heard an incredibly wonderful instrument that disappeared into the characterization.  His "Kuda, kuda" was imbued with all the colors of the palette of an artist, which, of course, he is.  We heard doubt, fear, regret and passion.  We suffered along with him.

Mezzo-soprano Avery Amereau has a rich caramel voice and turned in a splendid performance as the light-hearted Olga, the carefree younger sister.  During the orchestral prelude, a pantomime of two little girls had established the warmth of the relationship between the sisters as well as the difference of their characters.  We always wondered what happened to Olga after her fiancé was killed in the duel but Ms. Amereau's characterization led us to believe that she recovered from the shock and went on to lead a rather carefree life post-opera!

Because the opera was presented chamber-style we enjoyed the feeling of intimacy that provided and never missed the huge chorus or ball scene in the last act.  Madame Larina and Nanny Filipyevna were combined into one character, portrayed by the excellent mezzo Samantha Hankey with soprano Marguerite Jones as the maid Anya.  For comic relief there was the foppish Monsieur Triquet, portrayed with fine style by the excellent tenor William Goforth.

Bass Önay Köse had a single aria in the final act which was perfectly sung; he was every inch a Prince Gremin who has achieved favor with the court by virtue of his military success.  One could amazingly hear all this in his voice, as well as his tender feelings for his wife Tatiana who has brought youth and joy to his later years.  Bass-baritone Tyler Zimmerman made a fine Captain Zaretsky who was so proud of running a duel according to meticulous standards.  Indeed, there are no small roles!

Musical values were superb.  Youthful conductor Matthew Aucoin surely deserved all the foot-stamping at the end, as much as the singers merited their thunderous applause.  Under his baton and dancing hands, interesting melodic and harmonic elements emerged that generally get lost in a full orchestra in a large house. The reduced orchestration by Jonathan Lyness for the dozen musicians of the Juilliard Orchestra  worked very well for the small space of the theater.

Brian Zeger, Artistic Director of the Marcus Institute, said that this work is not meant as a replacement for the full-length work but rather an intimate look at the piece.  That being said, we will never look at the opera in the same old way, not ever.  And given the choice, we would prefer to see this version with its stunning insights.

We wonder how many operas there are that would lend themselves to such a treatment as Ms. Birnbaum provided.  There would seem to be a plethora, as long as there are musicians to do the reduction and gifted singers who can withstand such intimate scrutiny. 

© meche kroop

OPERA INDEX AWARDS RECITAL

Michael Fennelly, Juan Jose de Leon, James Edgar Knight, Avery Amereau, Nian Wang, Tracy Cox, Murray Rosenthal

Opera Index has a lengthy history of supporting young opera singers and has gotten countless of them on the path to stardom.  Last night at the annual membership party, members were treated to a recital of arias by five of them--five promising artists on their way up, accompanied by pianist Michael Fennelly and introduced by President Murray Rosenthal.  It would be an understatement to say that the audience was appreciative; there was a loud chorus of bravos and bravas after each one.

The program opened with Tracy Cox singing "Pace, pace mio dio" from La Forza del Destino, one of our personal Verdi favorites.  Ms. Cox has a sizable soprano and an expressive quality that gives us goosebumps, not to mention a marvelous messa di voce and a big "money note".  It is easy to see why this Young Artist at LA Opera has been wining competitions all over and, as she matures and harnesses that big voice, a Wagnerian future may be down the road.

Mezzo Nian Wang gave a polished performance of the Violin Aria from Offenbach's Les Contes d'Hoffman, using her fine French to convey the composer's intentions with remarkable communicative skills.  The training she received from Martina Arroyo's Prelude to Performance Program was evident.

Tenor James Edgar Knight, also a graduate of the same program, has a warm romantic sound that was perfectly suited to Lehar's "Dein ist mein ganzes Herz" from The Land of Smiles.  His training in musical theater as well as in opera makes him a double-threat.  His dynamism engaged the audience and drew us in.  He seemed to change the colors of his voice with great ease, but we are sure it took a lot of study and work to achieve that flow.

Mezzo Avery Amereau delighted us with a sound as rich and warm as a cup of espresso.  In "Connais-tu le pays?" from Thomas' Mignon, she sounded rich and yet delicate.  We are looking forward to hearing more from this young artist whose French diction was impressive.

Tenor Juan Jose de Leon chose the right aria to dazzle the delighted members of Opera Index--"Ah! Mes amis, quel jour de fête!" from Donizetti's La Fille du Regiment.  His secure high C's were tossed off with ease; we speculated that this aria was what won him so many awards.

These five singers won Emerging Artist Awards and Encouragement Awards.  Many other awards were given at the Opera Index 2013 Vocal Competition and their achievements will be celebrated at future events.  It is easy and not at all costly to join Opera Index and one can thereby support these stunning singers and participate in the many membership events.  We recommend it highly.

© meche kroop

GREAT COACHING=GREAT PERFORMANCE

Mitchell Lyon, Bretton Brown, Elizabeth Sutphen

Once more, a "cocktail hour" spent at Juilliard was more intoxicating than a cocktail.  This "six à sept" was notable by the fact that it comprised only Italian canzone and that the singers were coached by Diego Tornelli.  When all of the actors in a play are terrific, we generally acknowledge the brilliance of the director.  When all the singers are terrific, some credit must go to the coach.

The lovely soprano Elizabeth Sutphen opened the program, along with her collaborative pianist Bretton Brown, singing Rossini's "L'invito"; she has a fine vibrato in her voice with an open-throated upper register and a warm sincere stage presence.  In Ponchielli's "Piangea", Robynn Quinnett's violin wept along with the sad text.  In Ponchielli's "Eternamente", Mitchell Lyon's cello made some beautiful harmonies with her voice.  We have enjoyed witnessing Ms. Sutphen's growth as an artist on her way through Juilliard.

The same could be said for tenor Nathan Haller, whose piano partner was Valeriya Polunina.  He gave a rather subdued performance of Verdi's "Non t'accostare all'urna", a song of bitterness that we have cherished as one of Verdi's best songs; he was absolutely undaunted by the low notes, starting pianissimo and building to a passionate crescendo.  He followed up with some Tosti songs; we thought that "Ideale" suited his voice perfectly and observed a deep connection with the text and a sustained mood.  In Respighi's "Invito alla danza", he loosened up and evinced a lot of charm.

Also on the program were some singers we had not heard before but hope to hear again.  Tenor Hyunho Yoo, accompanied by Miles Fellenberg, sang Cimara's "Non più" with a sweet sound and legato phrasing.  He also sang a few songs by Castelnuovo-Tedesco, our favorite of which was "Al tè", a charming song with a lighthearted text describing conversation around a tea table.  But we noticed the most connection with the text when Mr. Yoo sang about nature, as in Davico's "O maggio bello" in a later set.  Mr. Fellenberg shone in Campogalliani's "Piangete occhi".

Also new to us was mezzo Avery Amereau who sang early 20th c. canzone by Santoliquido.  Ms. Amereau has a true mezzo sound, and a most agreeable one at that, in contrast with many young mezzo-sopranos who tend to sound like sopranos with low notes.  We liked the way her voice opened up when she sang the passionate "L'incontro".  Her pianist was Art Williford and they worked well together.

The program closed with baritone Elliott Hines, accompanied by Siyi Fang who has a lovely delicate touch, performing songs from several different periods.   Calestani's 17th c. "Accorta lusinghiera" was the earliest and Castelnuovo-Tedesco's charming "Nova angeletta" the most modern.  Mr. Hines seemed as comfortable with the baroque as with the "modern".  The final work on the program was Schubert's "Il traditor deluso"; had we not read the program we would never have recognized Schubert's compositional hand.  What a surprise!

We left Paul Hall feeling as if we'd taken a course in the history and evolution of canzone.  We also observed the value of having the singer do his/her own translations.  This was a real Halloween treat, the only "trick" being the Schubert!

© meche kroop