THE STARS WERE OUT TONIGHT

 Bryan Wagorn, Brittany Renee,  Ben Bliss, and Justin Austin

There are advantages and disadvantages to outdoor opera.  On the positive side, one doesn't have to gasp for air behind a mask. Also, newcomers to opera can get a taste of this matchless art form without selling their children or mortgaging their home. The disadvantage--and it's a big one--is that one misses the frisson created by a live unamplified voice. Listening to an opera singer live is a sensuous experience; the voice is not only heard but felt in various part of the body. Dear listener!  The next time you hear singers live, pay attention to which part of your body vibrates.  But we digress.

Last night in Central Park, The Metropolitan Opera gave New Yorkers a treat in the form of three of their finest singers who presented a generous and varied program that brought thunderous applause from the mob that crowded Rumsey Playfield. Bryan Wagorn, Assistant Conductor at The Met served admirably as accompanist for the great variety of music on the program.

Tenorrific Ben Bliss opened the program with "Questa o quella" from Verdi's Rigoletto.  We have enjoyed Mr. Bliss' singing for years but this is the first time we heard him sing Verdi. Although amplification makes it difficult to take the measure of a voice we can say we enjoyed his performance last night in a number of selections.

His Duke was more charming than menacing--charming enough to bewitch the innocent Gilda. The elaborate decorations of the vocal line were exciting. Even better was the subtlety with which he invested Lensky's aria "Kuda, kuda" from Tchaikovsky's Eugene Onegin. We particularly admired the dynamic variety; the pianissimi were exquisite. Whilst thinking of Olga, he spun out the note so beautifully that we were holding our breath. (We ran out of breath before Mr. Bliss did!)

Again in "Dalla sua pace" from Mozart's Don Giovanni, the warmth of his coloring created a character that we cared about and the long drawn out pp. dazzled us as much as the elaborate fioritura. The big surprise of the evening was "No puede ser" from Sorozabal's La Tabernera del Puerto. We are always delighted when an evening includes some zarzuela. A cheating woman brings out anger but this character's anger is mixed with incredulity. Mr. Bliss captured it all and did so with mucho sazon.

Barihunk Justin Austin has been on our radar since his days at Manhattan School of Music when we marked him as a gifted young singer.  His star has risen rapidly and everything he performs is touched with genius. His Dr. Malatesta was expansive and persuasive in "Bella siccome un angelo" from Donizetti's Don Pasquale. He managed to sound sincere as he palms off a young widow as his convent-raised sister but also lets the audience know it's a ruse.  

What a masterpiece of acting! What flexibility in the fioritura!

He exhibited some very fine German in "Lieben, Hassen, Hoffen, Zagen" from Strauss' Ariadne aux Naxos. His English diction in "There was a storm" from Blanchard's Fire Shut Up in My Bones and in "Ballad of the Easy Life" from Weill's Threepenny Opera made every word crystal clear. We never take that for granted.

This was the first time we heard Soprano Brittany Renee and found her to be a formidable artist. Her voice glittered in "Je dis que rien ne m'épouvante" from Bizet's Carmen but we had to avert our eyes since her glamorous appearance was at odds with Micaela's shy character. In "Chi il bel sogno di Doretta" from Puccini's La Rondine she looked more like the character and showed her gifts as a storyteller.

She rose to the challenge of Violetta's Act I aria from Verdi's La Traviata negotiating the two opposing sides of Violetta's character. In the cabaletta "Sempre libera" we heard some impressive fireworks--just right for a party girl in denial. We don't claim to know anything about jazz but Duke Ellington' "In a Sentimental Mood" sounded just fine to us and illustrated her versatility.

Having such superb singers in three different fachs permitted the programming of a number of duets in various combinations. In "Esulti pur la Barbara" from Donizetti's L'Elisir d'amore, Mr. Bliss got to play the newly confident Nemorino with Ms. Renee as the astonished Adina, acting rather bemused.

Ms. Renee made a fine Pamina in duet with Mr. Austin's Papageno in "Bei Männern" from Mozart's Die Zauberflöte. And our two male singers brought new life to "Au fond du temple saint" from Bizet's Les Pêcheurs de Perles.  Not only was the harmony exquisite but the two men were gazing off into the same space so convincingly that we felt we could see the scene through their eyes.

We aver that Rogers' Carousel is an American opera and Ms. Renee and Mr. Austin's performance nailed "If I Loved You".  We feel the same about Sondheim's oeuvre.  In "Agony" from Into the Woods, Mr. Bliss and Mr. Austin played a game of competitive complaining between two princes.  What a delightful comic turn!  From Bernstein's West Side Story, Ms. Renee and Mr. Bliss gave us a "Tonight" to remember.

As if this banquet of music were not sufficiently satisfying, our artists offered  postprandial friandises.  Mr. Bliss sang a glorious "Maria" (also from West Side Story) that turned a woman's name into a vocalise. Mr. Austin offered a heartfelt "I Dream a World" --text by Langston Hughes set by Damien Sneed. Could Ms. Renee's charming "Will He Like Me?" come from Harnick and Bock's She Loves Me?  Well, we liked her.  A lot.

© meche kroop

INFIDELITY AND BETRAYAL

Amanda Majeski, Jarrett Ott, Rod Gilfry, Ben Bliss, and Emily D'Angelo
(Photo by Ken Howard for Santa Fe Opera)

It was at the tail end of the Enlightenment when Mozart and Da Ponte created their puzzling masterpiece Cosi fan tutte, puzzling because it has one foot in comedy and the other in tragedy. It must have scandalized the opera-going public at that time. As late as the 20th c. audiences might have understood the shame experienced by cheating fiancées; but 21st century morality has changed and partner swapping no longer shocks or shames.

Given Mozart's marvelous music and an attractive young cast, we expected a captivating telling of the tale, especially since we have previously enjoyed the fresh takes on Händel's operas provided by Stage Director R.B. Schlather. To say we were disappointed would be a gross understatement; in fact we were appalled by this meretricious production.

We frequently closed our eyes during the "important" arias so we could focus on the glorious voices. It was indeed a casting coup to have engaged these artists who were excellent vocally and who worked well as an ensemble, apparently doing their best to give Mr. Schlather what he wanted.

Tenor Ben Bliss, possessor of a gorgeous instrument, could have melted anyone's heart with his "Un'aura amorosa". His voice has expanded in the past couple of years without losing any of its tonal luster. It was amazing that Fiordiligi could hold out for so long!

Baritone Jarrett Ott has a compelling stage presence and sings with baritonal beauty that was never lost in this low lying tessitura. Mozart did not give him a memorable aria but "Non siate ritrosi" was given a fine delivery. He was memorable in his seduction of Dorabella.

The role of Dorabella was performed by the excellent young mezzo-soprano Emily D'Angelo who possesses an instrument of distinctive texture. We particularly enjoyed her performance of "Smanie implacabili" for its gorgeous vocalism and over-the-top dramatics.

The soprano role of Fiordiligi was performed by Amanda Majeski who readily conquered the wide skips of the showpiece aria "Come scoglio".  However we were distressed by a hard edge in her voice that sounded shrill. In duets and ensembles this feature created an unpleasant imbalance in the harmonies. Also, her ornamentation could have been crisper in its articulation.

Baritone Rod Gilfry is always a welcome presence, even when he portrays un unlikeable character like Don Alfonso. How can one like an older man who treats his young friends as puppets to play with!  We call him guilty of entrapment.

Soprano Tracy Dahl got a lot of laughs as Despina and we loved the particular timbre of her high soprano. It was particularly funny that her height brought her barely to the shoulders of the other artists. "Una donna a quindici anni" was given plenty of sass.

We always enjoy Mozart's duets and ensembles, especially "Soave sia il vento". The esteemed conductor Maestro Harry Bicket led the Santa Fe Opera Orchestra in a lively reading of the score, also giving the lyrical moments plenty of space.

We also noticed that moments of comedy were enhanced by leaving an extra beat of silence right before a humorous line. We don't know whether Mo. Bicket or Mr. Shlather was responsible for this but it worked well.

Now, about the production--we found it illogical, incomprehensible, and just plain ugly. It would take forever to relate every single instance of directorial waywardness but let us name a few. In Act I, all four of the young lovers were directed to move jerkily around the stage, roll on the floor, fight, and bounce off the walls. 

Despina has a magic wand to "heal" the poisoned "Albanians" (who in this case were silver-clad cowboys) and appears to use it to advance Don Alfonso's machinations. If "magic" is involved, it undercuts the theme of human foibles and succumbing to the pull of romantic variety. In this production the women can't really take responsibility for their lapses although they do feel shame.

The final scene was particularly confusing. Don Alfonso makes all four young lovers kneel as if preparing for an ISIS beheading; then he pours water or some other liquid on their heads. 

Characters were often onstage when they were not supposed to be. Don Alfonso had no justification for announcing the return of the fiancés just when everyone was partially deshabillé.

Terese Waddens' costume design furthered the confusion. The young men first appear in what seems to be tennis whites, as do the young women. The men then appear dressed as cowboys, so that when they next appear as the "Albanians" the only apparent difference is that their moustaches are gone. This makes it even more preposterous that the ladies don't recognize their fiancés.

Despina is costumed in an unflattering housedress and later in a spangled evening gown that harmonizes with those of her employers robbing her of her special role in the plot. No attempt was made to convince anyone that she was a notary or a doctor.

Dorabella at first looks very feminine with long hair. Toward the end she appears wearing a man's suit and very short hair. Why?

Paul Tate De Poo III's minimalistic set design was similarly ill advised. Flat architectural elements had square spaces cut out of them through which characters emerged in somersaults or fell through. The floor had a similar square hole through which characters emerged or descended. None of these movements served the plot. There were no props except for Despina's magic wand.

Perhaps Mr. De Poo and Ms. Wadden were just giving Mr. Schlather what he wanted, just like the singers. But the overall effect added nothing to our understanding of the characters. We speculate that Mr. Schlather wanted his audience to focus on the psychology of the characters and the emotional effects of their interaction. This is not the way to do it!

When we see a production that honors the intent of the librettist and composer and is given a specific context of time and place, we in the audience do the work of finding parallels with our own time and place, as well as differences. It gives us a feeling of participation and a sense of understanding of our place in history.

On the other hand, a barren production like this one was devoid of context. Such abstraction leaves us feeling alienated and disconnected, when we should be identifying with the characters and caring about their destinies.

So...Mozart 10: Schlather 2!  It was the production which was guilty of infidelity and the audience which was betrayed!

(c) meche kroop

 

MUSIC AND WINE

The Verona Quartet: Jonathan Ong, Abigail Rojansky, Jonathan Dormand, and Dorothy Ro

Imagine being in a glamorous penthouse in Tribeca.  Imagine being surrounded by a bunch of the "beautiful people" of New York City. Imagine being entertained in this private salon by a world class string quartet. Imagine a charming sommelier introducing you to some interesting beverages including champagne, hard cider, and stout. Imagine nibbling on interesting cheeses.  (No pepper jack or generic Swiss here!)

If you were a member of Mise-en-Scène Studios, affectionately called MESS, you might have shared this stellar experience with us. This was just one of three exciting experiences this week created by MESS founders Lachlan Glen and Ben Bliss.  Just in case you don't know them, Mr. Bliss is the Metropolitan Opera's new star tenor and Mr. Glen travels the world as solo pianist, conductor, and collaborative pianist.

MESS programs allow for lots of socializing between sets of music and sommelier Andrew Stenson (who also happens to be a terrific tenor) curated the wines to match the musical program.

Guests were treated to several movements of Beethoven's final String Quartet Op. 135, of which we preferred the slow movement.  As a matter of fact, we would have preferred to hear the work in toto and in its proper order but no one else seemed to mind its balkanization.

The Beethoven was interspersed with movements of Jánaček's "Intimate Letters" Quartet which was informed by the composer's unfulfilled longing for a young married woman. We heard some of this work this week at other MESS events but, in this venue, it was easier to concentrate on just how engaging is the artistry of the Verona Quartet.

Each member seemed totally involved with the music. Moreover they have engaging personalities and each one shared a bit about themselves as well as information about their respective instruments--some new and some centuries old.

They also played a work they commissioned from contemporary composer Julia Adolphe. I appreciated their description of the composer's intent but regular readers will recall how strongly I believe a work should speak for itself. Whatever the message of "Star Crossed Signals" was, we unfortunately failed to get it. Not a criticism.  Just our taste.

Speaking of taste, we loved Mr. Stenson's taste in beverages and admire the way he tried to pair them with the music.

We absolutely cannot wait for the next MESS event on December 11th in Williamsburg. We never miss the annual "Goyishe Christmas", devised by the beloved Steven Blier of New York Festival of Song, and comprising Christmas music written by Jewish composers.  Don't miss it!

(c) meche kroop

GETTIN' MESSIE

Maestro Lachlan Glenn at Paper Box-- M.E.S.S. Event

The streets were messy as all get-out last night but "Messies" (members of Mise-en-Scène Studios) and their friends somehow got themselves to the depths of Brooklyn for the first of two events at Paper Box. Co-founders star tenor Ben Bliss and Maestro Lachlan Glenn welcomed the huge crowd and introduced a magnificently varied program of opera, dance, and instrumental music. The program had something for everyone and everyone seemed wildly enthusiastic.

It is a wise idea to introduce young people to opera, not as a lengthy ordeal to endure, but rather a small taste to relish, with the expectations that those exposed to world class singers in small increments will want to hear more. It seems to be a great approach and even a seasoned opera-goer such as ourself found the program both entertaining and stimulating.

The initial entry was the opening scene from Britten's The Rape of Lucretia in which tenor Andrew Stenson narrated and three Roman soldiers discussed the fidelity of the women left behind. Tenor Will Liverman as Prince Tarquinius and baritone Theo Hoffman as Junius are soured on wives and lovers who betrayed them. They are envious of Collatinus (bass Erik van Heyningen) whose wife is faithful. Fueled by alcohol and testosterone, the two soreheads plot to get Collatinus' wife to betray him as well. The singing was powerful on all accounts and the direction by Paul Curran made the scene all too believable.

Following an interlude of "Danse Russe" from Stravinsky's ballet Petroushka, played "one piano four hands" by four of the best hands we know (two belonging to Adam Nielsen and two belonging to Chris Reynolds), we witnessed a scene from Berlioz' Béatrice et Bénédicte that had as much estrogen as the prior scene had testosterone.

Felicia Moore wielded her clarion soprano instrument deftly in fine French as she expressed her love for Claudio. The role of Ursule, her lady-in-waiting, was sung by the marvelous mezzo-soprano Renée Rapier.

A less familiar aria from John Corigliano's The Ghosts of Versailles-- "Long Live the Worm"-- was sung with intense gesture and vocal expressiveness by Mr. Stenson, accompanied by Mr. Reynolds. This must be Mr. Stenson's "signature area" because we don't recall being quite that riveted by Bégearss' nasty aria on prior hearings.

The format of MESS events allows for a break between sets so that guests can enjoy socializing, drinking, and eating--in this case bespoke crepes. Food for the tummy as well as the ears!

The well known final quartet from Verdi's Rigoletto is a "can't fail" number as long as you have great singers in all four fachs. In this case, Gilda was sung by soprano Jacquelyn Stucker with the eponymous jester portrayed by Mr. Liverman. The pair cowered below stage, eavesdropping on the onstage pair--the lascivious Duke (Ian Castro) working his charms on the innkeeper's sister Maddalena (Ms. Rapier). It was absolutely thrilling.

We got an advance taste of the entertainment scheduled for next Spring, a program involving Indian dancer Preeti Vasudevan and singer Roopa Mahadevan, wearing traditional garments and bringing a lot of color to the evening.  See photos on our FB page Voce di Meche.

The final scene from Richard Strauss' Der Rosenkavalier is another scene we love and here we had soprano Brandie Sutton as Sophie and the versatile Ms. Rapier as Octavian. Ms. Moore appeared again lending vocal and gestural dignity to the role of the Marschallin. The three voices harmonized so beautifully and Mr. Reynolds created an entire orchestra in the piano. The "silver rose" theme came through gently but clearly.

An interlude of the third movement of Mozart's String Quartet #23 in F Major, performed by the superb Verona Quartet, was followed by the Finale of Act II of Donizetti's Lucia di Lammermoor.  In this scene, poor Lucia (Ms. Stucker) is being reluctantly married off to the unwitting suitor Arturo (Mr. Stenson) by her desperate brother Enrico (Mr. Liverman). Lucia's true love Edgardo (Mr. Castro) arrives at a crucial moment and bloodshed is threatened with Raimondo (Mr. Van Heyningen) trying to keep the peace. The other singers for the evening composed the chorus. Again, the direction was astute and the scene was not only finely sung but believably acted.

Maestro Glen has been known to us for years as an outstanding pianist but just wait until you witness his conducting acumen! 

There were excellent titles for the operas in foreign languages but there were also useful brief summaries of the scenes in the program.

Tomorrow's event promises to be just as compelling with the same superb singers on hand. Tonight proved just how versatile these artists are and we have no doubt about their ability to handle all the goodies on tomorrow's program.  We don't want to give everything away but let's just say there will be something wonderful from Bernstein's Candide and something by Mozart that everyone will love.

(c) meche kroop

ENDING WITH A WHIMPER, NOT A BANG

The Santa Fe Opera Chorus in Doctor Atomic (photo by Ken Howard for Santa Fe Opera)

It would have been wonderful if the onstage nuclear scientists waiting for detonation of the atom bomb at Los Alamos had been accompanied by a real live storm but there was only a brief shower. We reflected upon the night at the Santa Fe Opera when the final scene of Verdi's Rigoletto was accompanied by real thunder and lightning, making for one exciting operatic experience.

Well, Doctor Atomic is no Rigoletto and John Adams is no Verdi; we doubt that audiences will be clamoring for this work in the 22nd c. However, if we accept the message of the evening, there may be no 22nd c. The part of the evening we enjoyed the most was the pre-opera lecture by Director Peter Sellars in which he made some very good points about the nuclear age and why he chose to present it as contemporary, with Gabriel Berry's costumes belonging to our present day. Although we strongly disagree we enjoyed hearing his rationale. 

We enjoyed even more the talks we heard from three of the Downwinders--an elderly woman, her daughter, and her niece--all suffering from crippling anxiety related to the decimation of their family by cancer, a consequence of the 1945 detonation of the world's first atomic bomb. Apparently, the government's fund to compensate the victims of fallout and radiation has not been extended to New Mexicans, a condition the Downwinders have been fighting for several years. The stories they shared were terribly tragic. The government did not evacuate them for fear the press would find out that "something was going on".

The production of Doctor Atomic, taking place just a stone's throw from Los Alamos, seemed to be a risk for the Santa Fe Opera but they put all their resources behind it and succeeded in selling out the entire run. Not only did we get to hear the voices of the afflicted but we got to watch members of nearby pueblos performing a corn dance onstage, a form of prayer for healing and for water to nourish their corn crop. The stage was filled with Downwinders who probably had as many tragic tales to tell as the three we heard in the lecture.

Our desire to learn about this tragedy created by the military/science complex was not matched by an appreciation for the opera itself, in spite of some stellar performances by artists we know and love. This lack of affection for the work is not due to the fact that it is political.  Verdi himself wrote several operas with political themes, both overt and covert.  But he did so with glorious music and singable melodies.

Although there were a few moments when Adams' orchestral colors pleased our ears, for the most part the music is harsh and dissonant. Peter Sellars' libretto is nothing if not "wordy". The text was derived from government documents, wire-tapped conversations, surveillance reports, first-person accounts, scientific data, and poetry loved by the Oppenheimers; none of it is singable, nor is the vocal line melodic in any way, shape, or form.

The fact that the voices were amplified, as Adams stipulated, did nothing to enhance the listening experience. NATO would describe the opera--No Action Talk Only.  There is only the conversation about the Manhattan Project, the waiting, and the concern with the weather. Emily Johnson's choreography involved some highly generic modern dance to give the illusion of movement--eye candy that was more sour than sweet. David Gropman's set was bare, save for a huge suspended reflecting ball.

Now that we got the negatives off our chest, let us relate the positives, which involve some pretty swell performances. Bass-baritone Ryan McKinny establishsed the complex character of Dr. J. Robert Oppenheimer whilst the exceptional soprano Julia Bullock excelled at limning the character of his neglected wife Kitty. Most of her singing involved texts of poet Muriel Rukeyser which was abstract to the point of incoherence. We have written that Ms. Bullock could sing the phone book.  This came close.

In the sympathetic role of the physicist Robert Wilson, tenor Ben Bliss' youthful timbre was just right for the part. His "aria" whilst climbing to the top of the tower was probably the most musical part of the opera.

Contralto Meredith Arwady lent her distinctive sound to the role of Pasqualita, Kitty's Tewa housekeeper. Her singing of a Tewa native song was rather more listener-friendly. 

General Leslie Groves was the U.S. Army Commander of the Manhattan Project, a demanding, aggressive, and overweight man; bass-baritone Daniel Okulitch got the first two qualities just right but the banter about his weight and his diet didn't make sense since Mr. Okulitch is admirably fit. 

Bass Andrew Harris portrayed the physicist Edward Teller and baritone Tim Mix took the part of the chief meteorologist for the Trinity test site. General Groves was casting shade on him for not producing better weather!  

Apprentice Mackenzie Gotcher lent his tenor to the voice of Capt. James Nolan who, as chief of the post hospital at Los Alamos, expressed concern for the well-being of the scientists working on the Manhattan Project. Most enjoyable for us was the chorus composed of Apprentice Singers. They blended onstage with the Downwinders and provided some visual as well as aural interest. 

The evening ended with a standing ovation, dear readers, so our comments are not meant as a value judgment, rather as the opinion of one opera lover who wants to be entertained. Mr. Sellars' libretto might have made good reading but those words we heard never begged to be set to music. Nor was any provided.

(c) meche kroop

M.E.S.S.n AROUND

Lachlan Glen and Ben Bliss at Mise en Scene Studios event

The gestation period for Mise en Scene Studios is a long one. There are excellent physicians and midwives in attendance. The embryo is healthy--viable and kicking. The nursery is well-furnished and friends and relatives are lined up to greet the newcomer. This love child will reflect the many gifts of its parents and will be quite different from any other--a unique offspring.

We have been present since the egg was fertilized and cannot wait to welcome the new opera company to its New York home. While we are waiting the parents have invited us to some baby showers, along with all the other citizens of Planet Opera who are just as excited as we are.

Last night, in a spacious loft in the East Village, we socialized with a great group of equally enthusiastic folk.  We dined on custom made pizza, we drank wine, we talked about music, we toasted the happy parents-to-be. And, most importantly, we heard some exciting music that gives us a taste of the quality we can expect from this nascent group.

Entertaining us royally were tenor Ben Bliss and collaborative pianist Lachlan Glen (both graduates  of the Lindemann Young Artist Development Program), along with soprano Leah Hawkins and The Verona String Quartet. Mr. Bliss has had a meteoric rise and sings at The Metropolitan Opera. Mr. Glen tours the world and captivates audiences everywhere as a solo star of the keyboard and as a collaborative pianist.

Soprano Leah Hawkins came to us from the Washington National Opera Domingo-Cafritz Young Artist Program. She is one of those big beautiful women with big beautiful voices. She performed two songs by Francis Poulenc, the first a 1938 setting of text written in 1912 by Wilhelm Kostrowicki (known as Apollinaire). Ms. Hawkins fine vibrato and word coloration made clear that the song "La grenouillere" (the Froggery) was about nostalgia for les temps perdus.

Her second offering was "Les chemins de l'amour" the 1940 setting of text by Jean Anouilh, which shared the nostalgic feeling and had a similar "old-fashioned" feeling as the first melodie, a quality that we treasure. Ms. Hawkins knows how to spin a decrescendo into a fine silken thread of sound.

The Verona String Quartet, comprising Jonathan Ong and Dorothy Ro, violins, Abigail Rojansky, viola, and Warren Hagerty, cello are all graduates of Juilliard and have achieved significant fame in the four years they have spent together. Residencies at Caramoor and at the New England Conservatory have been added to their graduate residency at Juilliard.

Last night we got a taste of their talent as they performed with Mr. Glen a most successful arrangement of an excerpt from Prokofiev's 1936 Romeo and Juliet, a suite for orchestra. It was so evocative that we couldn't keep from visualizing the ballet itself, which we love.

They also performed the second movement of Borodin's 1881 String Quartet No. 2 which was made popular by being "borrowed" for the 1953 musical Kismet. The writing is lush and melodic and is one of our personal favorites among so many string quartets.

Joined by Dominik Belavy and Alex Rosen for the "Laughing Trio", Mr. Bliss blissed us out with "Un aura amorosa" from Mozart's Cosi fan tutte. He will be performing the role of Ferrando at The Metropolitan Opera this coming Spring and audiences will surely go mad for him. His ardent lyric tenor is perfectly suited to Mozart.

Mr. Glen then joined The Verona Quartet for the fiendishly difficult and spirited final movement of Brahms' Piano Quintet in G minor, following which the four strings gave us the first movement of Ravel's String Quartet which sounded just as anxious as the first movement of the Grieg which we heard a couple days earlier.

Not to worry because we were soothed by a duet from Franz Lehar's Die lustige Witwe. Mr. Bliss sang the role of Camille, persuading Valencienne (Ms. Hawkins) to join him in the little pavilion for a fond farewell. We were very glad to hear it in German!

The final offering was "This is My Night to Dream" by James Monaco and Johnny Burke, popularized by Nat King Cole. We thought the entire night was a dream!

Before we end, we would like to direct you to www.messnyc.com/membership. Did we tell you that YOU TOO can become a member of this vibrant and rapidly growing organization. A mere $99 for an entire year will give you admission to several evenings similar to the one we just described. This should keep all of us entertained and engaged until the opera season begins. That's the baby for which we are all waiting.

It is clear that those of us addicted to great music will find the quality we demand, whilst curious friends can be invited to share in the good fellowship, food, and drink and be introduced to the best the music world can offer in a relaxed and sociable environment. We do believe that the best way to get "newbies" on board is to offer quality.

(c) meche kroop

SATURDAY NIGHT SPECIAL--A GLORIOUS M.E.S.S.

Mezzo-soprano Renee Rapier with Verona String Quartet and Lachlan Glen at the piano

We have wanted to share M.E.S.S. with our readers for some time but were sworn to secrecy on this innovative and daring project which seems destined for success.  Tenor Ben Bliss and pianist Lachlan Glen are not just amazing artists but thoughtful and industrious entrepreneurs.  Anyone who attended the year long survey of Franz Schubert's 600-plus song output in one season will know just how dedicated is Mr. Glen and how able to follow through on his ideas.

The idea for M.E.S.S., which stands for Mise-en-Scene Studios, is one which virtually guarantees the further life of opera for the next generation of opera goers and stands a good chance of bringing new life into the art form. The founders are not alone in their goals and several of their ideas have already been put into practice by other companies who are taking opera out of the concert hall and utilizing unusual venues.

What is new about this project is the consideration of every detail within a novel concept that appears to benefit everyone. We all want affordable opera in intimate spaces. We all want to see artists well remunerated for their work. We love the idea of spontaneity of attendance without tying ourselves down a year in advance. We all love the idea of making opera a social event, providing opportunities for artists and their fans to mingle over edibles and libations.

Last night was a great example of what this model will look like. Throngs of young people crowded into a loft, never mind the inclement weather, to enjoy drinks and crepes and music.  And oh, what music! For us, the highlight of the evening was being THIS close to top tenor Ben Bliss singing "Una furtiva lagrima".  It was our first attempt to make a video with our iPhone and it is posted on our FB page Voce di Meche. (This is the same Ben Bliss who starred in Die Zauberflote at the Met which would have seated you as far away as the length of a football field.) His performance of "Maria" from Bernstein's West Side Story was matchless.

There were no "low-lights". We were introduced to mezzo-soprano Renee Rapier who delighted us with Ernest Chausson's "Chanson Perpetuelle" and also sang some cabaret material with beautifully modulated dusky tone and affecting expression-"My One and Only Love", "Orange Colored Sky" and "Dream a Little Dream of Me". The combination of mezzo and tenor is not all that common (We don't believe that Ferrando and Dorabella ever sing together in Cosi fan tutte) but we loved every moment.

The instrumental entertainment was provided by the Verona Quartet who, among a legion of honors, are enjoying their second year as Graduate Resident String Quartet at The Juilliard School. The quartet comprises violinists Jonathan Ong and Dorothy Ro, violist Abigail Rojansky and cellist Warren Hagerty. They performed two movements from Ravel's String Quartet in F Major and, best of all, the first movement of Dvorak's Piano Quintet #2 in A. We would have killed to hear the rest of the work, a personal favorite. Mr. Glen's piano knitted everything together in a terrific tapestry of sound.

Let us not forget Mr. Bliss' performance of two songs by Vaughn Williams which could absolutely change our mind about singing in English. He is a consummate storyteller and made every word as clear as crystal in "From far, From Eve and Morning" and "Bredon Hill".  If he wants to sing an editorial about politics we would still want to listen!

Of course, the purpose of this glamorous Saturday night was not just to wine and dine and entertain us, but to introduce the audience to this novel concept, some elements of which have been borrowed from other successful companies. The business model has been thoroughly worked out. Membership will replace rigid subscription commitments. Adequate endowments will substitute for expensive fundraising efforts. There will be several levels of involvement in M.E.S.S., from free entertainment for students all the way to elite membership for big donors.  Everyone will have a place. Venues will shift. Flexibility will be a key word. There will be no attempt to have "a house". But there will be "a home".

We have counted ourselves in and will keep you, dear readers, informed of future events.  M.E.S.S. expects to have a full season of opera with a resident ensemble company within three years but there will be more events starting in the Spring.

(c) meche kroop

MAD ABOUT THE BOYS

Ben Bliss and Lachlan Glen

What a perfect partnership!  Tenor Ben Bliss and collaborative pianist Lachlan Glen met each other at the Lindemann Program and the rest is history.  Last night at Weill Recital Hall of Carnegie Hall we experienced the final event in their tour but we wouldn't be at all surprised if the first night of the tour was as polished. The pair have an ease of working together and an equivalence of prodigious talent.

We have reviewed their recitals on prior occasions and are always overcome by their level of artistry and professionalism. Mr. Bliss addresses the audience with such ease that one feels as if you are a guest in his home hearing tidbits about the composer and the song. In everything he does, his musicianship stands out. Nothing gets short shrift and so-called "popular music" gets the same attention as cherished classics.

Mr. Glen is nothing if not colorful but musical values are never sacrificed at the altar of showmanship. His support for the singer is constant from moment to moment. Mr. Glen is also a consummate soloist, as evidenced by his recent recording (Embraceable You) which tackles standard piano chestnuts like Beethoven's Moonlight Sonata and Debussy's Clair de Lune; but just listen to his improvisations on Chopsticks!

There was some of this improvisation going on in the final set of the program when we heard Eden Ahbez' "Nature Boy" given such a depth of mystery that we were bowled over.  But we are getting ahead of ourself....

The program seemed to comprise a wide range of styles and each piece seemed to be one that the artists truly enjoyed performing. This was quite different from a recital given over to one composer, or a recital attempting to show off the singer's linguistic skills. This one was just things the artists love.

Fortunately, we loved them too. We can never hear enough Strauss and Mr. Bliss serenaded us with "Ständchen" bringing this tender tune to a passionate climax. Mr. Glen's rippling piano and peaceful postlude were perfect.

In "Barkarole", Mr. Glen really rocked the boat while Mr. Bliss gave us the sweetest "süsser" we have ever heard. His pianissimo was incredibly delicate with no loss of tone. The meditative "Morgen" observed a slow tempo and the final "stummer Schweigen" hung in the air for the lovely postlude.

We were introduced to a composer previously unknown to us and are grateful for the introduction.  Composer Nadia Boulanger had a younger sister named Lili who died tragically at the age of 24, leaving behind some gorgeous songs. At the tender age of 19 she won the Prix de Rome for her compositions, the first woman composer to have achieved this honor. 

We heard selections from Clairières dans le ciel, a fragrant setting of Francis Jammes' text.  Mr. Bliss' performance was marked by finely floated top notes as Mr. Glen's piano rippled underneath. The French seemed flawless.

This delicacy was succeeded by the robust "Marechiare" by Paolo Tosti, sung in Neapolitan dialect and given an expansive and powerful reading by the two artists. Talk about fragrant!  You could smell the garlic!

The recently deceased music critic John Gruen set some playful poetry by e.e.cummings to some equally playful music.  We enjoyed the whimsy of "Spring is like a perhaps hand" and "Lady will you come with me into". The works were unpublished and we hope that situation will change.  More people should hear these delightful ditties but we are not sure another duo could have brought them to such enchanting life.

Our favorite contemporary composer Lowell Liebermann set a text by Henry Wadsworth Longfellow which was entitled "The Arrow and the Song", drawing an analogy between the two. The arrow is found long afterward in an oak tree, while the song lands in the heart of a friend. There was a grandness to this song and it did indeed reach our heart.

Robert Frost's "Stopping by Woods on a Snowy Evening" was given a lovely setting by Ned Rorem in which the music was quietly pensive as sound can be when muffled by snow.  Theodore Chanler's  "I Rise When You Enter" is a charmingly lighthearted paean to love which Mr. Bliss sang with personality to spare.

There was a set of Benjamin Britten songs as well; we like him best when he embraces humor and Mr. Bliss did complete justice to "The Children and Sir Nameless", an ironic depiction of a pompous lord who gets his comeuppance.  In the melancholy "The Last Rose of Summer", Mr. Glen brought out the troubled chords in the piano and Mr. Bliss made the most of the melismatic passages, as he did in "The Choirmaster's Burial". There was some gorgeously spun out tones in the decrescendo passages.

The final set comprised the aforementioned "Nature Boy" which is still circling our brain and haunting our soul, Harold Arlen's "One for My Baby" and Ray Charles' "Hallelujah I Love Her So". We were inspired to listen to Nat King Cole's recording of the first, Frank Sinatra's rendition of the second, and Ray Charles' performance of the third. We decided that Mr. Bliss' "cover" surpassed the originals of the first two but maybe, just maybe, Mr. Charles had a slight edge on the third!

Two encores were offered. The first was "Una furtiva lagrima" from Donizetti's L'Elisir d'Amore when Nemorina realizes that he has won Adina's love. The heartfelt aria is perfect for Mr. Bliss' warm and flexible tenor.  The second offering was "Maria" from Bernstein/Sondheim's West Side Story, another joyful celebration of first love.

So! Blissed out are we by this recital! A recording of favorite songs by Mr. Bliss and Mr. Lachlan is available on Mr. Bliss' website. If you missed this landmark recital you can still enjoy some incomparable vocal music by this versatile duo.

(c) meche kroop

RICHARD STRAUSS' CAPRICCIO AT SANTA FE OPERA

Amanda Majeski and Ben Bliss (photo by Ken Howard)

Richard Strauss' last opera Capriccio premiered in 1942 in Munich and received its professional debut right here at the Santa Fe Opera in 1958 (although the Juilliard School had presented it four years earlier).  Strauss has always been important at the Santa Fe Opera and last night's performance yielded numerous delights, although it will never be our favorite Strauss opera. That place belongs to Der Rosenkavalier!

Capriccio has been called "A Conversation Piece for Music" and it does indeed involve a great deal of conversation.  One might call it "talky". The libretto was written predominantly by Clemens Krauss with likely a great deal of input from Strauss himself. It comprises an exploration of the relative importance of literature and music.  After hearing the opera, we have decided for ourselves--Music 10, words 2!

We personally do not care for operas about ideas, politics, or philosophy.  We prefer operas about human relationships.  In this case, it is the relationship between the characters that held our interest. The philosophical argument has been dramatized as a decision to be made by the Countess Madeleine regarding her two suitors--the composer Flamand and the poet Olivier.

Soprano Amanda Majeski portrayed the countess elegantly and had her finest moment at the end of the opera when, alone onstage, she sings the same aria that Flamand had composed for her and sung in the first act. The exceptional young tenor Ben Bliss, whose singing has blissed us out for a few years now, perfectly personified an ardent young composer, confident in his talent.  The character likely represents Strauss himself; the string sextet which opens the opera, played by onstage musicians, amounts to a statement of the beauty of music without words.

But Flamand's song, which we heard sung first by tenor and later by soprano, is the most gorgeous piece in the opera and is a  setting of a love sonnet written by Olivier to woo the Countess. The role of Olivier was excellently handled by baritone Joshua Hopkins. Olivier accuses Flamand of ruining his text but we, and the audience, know better. The music has animated the text and brought it closer to our hearts.

Bass-baritone David Govertsen gave a marvelous performance as La Roche, the theater director, who gets to hold the stage for a considerable period of time in a rant about the performing arts. He is a guest at the home of the Countess along with Flamand and Olivier. Also present is Clairon, a famous actress, stylishly enacted by mezzo-soprano Susan Graham. 

It is the tiny touches that create a believable character and Ms. Graham's finest dramatic moment occurred when she opened the script for a reading, stretched out her arms to hold the book as far away as possible, and finally dived into her bag for her glasses. The gesture is common in those over 40, but the expression on her face was uniquely hers.  It was a moment! Obviously she was hiding her presbyopia from the Count, Madeleine's brother, with whom she was having a flirtation. 

The Count was enamored of her and had theatrical aspirations as her "scene partner". Baritone Craig Verm also succeeded in creating a believable character, one who was not particularly musically inclined. There was some gentle humor in the way he and his sister teased one another about their romantic interests.

Tenor Galeano Salas and soprano Shelley Jackson, both apprentices, made a fine appearance as the Italian Singers and drew laughs from the audience. While the artists were debating the worth of the various arts, this couple was off to the side devouring the cake and port.

Further humor was provided by the servants who had a great scene at the end in which they gave their opinions on the arts and on the behavior of the now-departed artists.  All were sung by apprentices: Thaddeus Ennen, Andrew Maughan, Andrew Paulson, Benjamin Werley, James Harrington, Nicholas Davis, John Matthew Myers, and Peter Scott Drackley.

Tenor Allan Glassman was quite funny as Monsieur Taupe the prompter who told the Major Domo (Apprentice bass-baritone Adrian Smith) that he was the most important individual at the opera.  Without him the show would not go on!

There were also giggles to be had when the artists discussed their opinions about opera, several of which corresponded to our opinions of the opera we were hearing in real time.

Conductor Leo Hussain seemed to have a special feeling for Strauss and brought out the textural subtleties. The vocal ensembles were particularly fine.

Director Tim Albery prevented this wordy opera from being static. However, we did not understand why the story, which was supposed to take place in the latter part of the 18th c., was updated to Strauss' own time of 1942. There was much discussion among the characters of Gluck's modernization of opera which seemed to make no sense.  

We are puzzled by all the recent updatings of operas to the 1940's and 50's--a period when costumes and hairstyles were particularly unflattering. We don't think Capriccio was horribly damaged by the updating; it just seemed pointless.

Costume and Set Design were by Tobias Hoheisel. Strangely, the Countess' drawing room, where all the action takes place, was in fine 18th c. design as would have been appropriate if the opera were staged as it was meant to be.  But the side rooms were furnished in unattractive mid 20th c. style.  In one moment, which delighted us, the Countess has a servant remove a boring piece of modern art from the wall and replace it with a classical oil painting.  

(c) meche kroop

OPERATIC THRILLS IN BROOKLYN BRIDGE PARK

Angel Blue, Alexey Lavrov, and Ben Bliss

We have been fans of tenor Ben Bliss and baritone Alexey Lavrov for some time now and readers can find several reviews of their incomparable interpretations through the search bar on this website.  Soprano Angel Blue is new to us but is on the same impressive professional level; we hope to hear her again soon since her performance, like those of dear Alexey and dear Ben, left us tingling with pleasure.

Thanks to the City Parks Foundation Summer Stage and the Metropolitan Opera, New Yorkers in all boroughs have the opportunity to enjoy great artists singing great music. The selections chosen were all popular arias and duets with nothing dissonant or "challenging".  It was a program of pleasure.

This particular concert was first performed in Central Park but we attended the reprise in the beautiful Brooklyn Bridge Park, overlooking the skyline of lower Manhattan. The audience was held spellbound for nearly two hours with not a single cell phone to distract from the entertainment. Even the children were quiet.  Such is the power of artistry!

It must be difficult for singers to deal with the elements and with amplification, but the strain did not show. Accompanied by the versatile Dan Saunders, the sound balance was fine and one could appreciate the skillful performances almost as much as one could in an indoor theater with fine acoustics.

This week as been filled for us with Romeo and Juliet (both opera and ballet) but hearing Ms. Blue's opening number "Je veux vivre" from Gounod's opera let us know immediately that we were in the presence of a fine talent. She was a touching Micaëla in "Je dis que rien ne m'épouvante" from Bizet's Carmen.

No matter how many times one has heard "O, mio babbino caro" from Puccini's Gianni Schicchi one is never bored. One might think that all the amateur singers on TV might have spoiled it, but hearing Ms. Blue's performance wiped out all those aural images.  Ms. Blue's sizable voice and warm personality are perfect for Puccini and we heard selections from La Bohème and Tosca that bowled us over.

Readers may recall how fond we are of zarzuela and we were thrilled that Ms. Blue chose Luisa's fiery aria "Carceleras" from Rupert Chapi's Las Hijas de Zebedeo. She has all the flexibility to make the Arabic-inflected flamenco passages exciting.

Readers are probably aware of how impressed we are with the appositely named Mr. Bliss. We are so pleased to be witnessing his meteoric rise through the Lindemann Young Artist Development Program and his stage-worthiness at the Met and on opera stages worldwide.  What a perfect Alfredo he made last night in "De' miei bollenti spiriti" from Verdi's La Traviata!

The gentler passions of Mozart's "Un'aura amorosa" from Cosi fan Tutte and "O wie ängstlich" from Die Entführung aus dem Serail were no less stirring and gave him the chance to show off his flawless German in the latter.

There was also an aria from an opera unfamiliar to us that was striking in its loveliness--"Magische Töne" from Karl Goldmark's 1875 opera Die Königin von Saba (The Queen of Sheba). We love discoveries and, for us, this was a real winner and perfectly suited to Mr. Bliss' "magic tone".

As encore, Mr. Bliss blissed us out with  (you guessed it!)  an aria from a zarzuela. "Flor Roja" from Jacinto Guerrero's Los Gavilanes was recorded by Alfredo Kraus and Placido Domingo; we hope Mr. Bliss will record it!  The timbre of his voice, the amazing vibrato, and his skillful control of dynamics made it unforgettable.

Baritone Alexey Lavrov, another gifted artist coming out of the Lindemann program, gave us the exciting "Mab, la reine des mensonges" from R&J as well as the lovely serenade "Deh vieni alla finestra" from Mozart's Don Giovanni from which he also sang everyone's favorite duet "Là ci darem la mano" with Ms. Blue as his Zerlina. 

He also sang everyone else's favorite duet "Au fond du temple saint" with Mr. Bliss and went on to the very sad duet "O Mimi tu più non torni".  And yet another duet with Ms. Blue "Lippen schweigen" from Franz Lehar's Die Lustige Witwe which involved some charming waltzing around the stage.

But we most enjoyed Mr. Lavrov in his Russian selection from Sergei Rachmaninoff's Aleko--"Vyes' tabor spit" and in his garlic-inflected encore "Parlami d'amore Mariù" composed in 1932 by Cesare Andrea Bixio and Ennio Neri.

It was a most fulfilling evening which, we hope, won converts to opera. Judging by the prolonged standing ovation, we think so.

There will be more of these concerts and you may just find one you will love by visiting the Met website.

(c) meche kroop

BLISSED OUT!

Lachlan Glen and Ben Bliss

It would take a far better writer than we are to fully convey the impact of yesterday's lieder recital. The word that comes to mind is gifting. Carnegie Hall's program of Neighborhood Recitals is a gift to the community and Mr. Bliss and Mr. Glen gifted the audience. Both gifts were majorly appreciated.

We could walk through the Metropolitan Museum of Art, filled with valuable paintings and stop, arrested, in front of one that captivates us completely.  Is it the subject matter?  The colors? The way one's eye is pulled across the canvas? The technique of the application of paint? Inexplicably the eyes mist over. They are not tears of sorrow and not quite tears of joy.  Perhaps they are tears of awe and appreciation for beauty and all that went on in the heart and soul of the artist who produced it.

That is how we felt at Carnegie Hall's Neighborhood Recital at St. Michael's Church, produced as part of the Marilyn Horne Legacy. We were "stirred and shaken", in awe of such talent belonging to two exemplary artists in the early stages of major careers. 

Mr. Bliss' incredible artistry has already been recognized by The Metropolitan Opera (Belmonte in Die Entführung aus dem Serail) and the LA Opera (Tamino in Die Zauberflöte). His gentle tenor caresses the ear; his impeccable phrasing makes emotional sense out of whatever he sings; his diction ensures that titles are superfluous.

Mr. Glen has prodigious skills as a pianist with his fingers flying over the keys. On top of that his artistry as a collaborative pianist is legendary. He breathes along with the singer, always supporting and never stealing the show, although he easily could. He is already a successful recording artist.

Together, they were even greater than the sum of their parts and held us in their spell by means of their partnership. Whether the result was achieved by a great deal of practice or by instinctual connection we know not.  But we certainly felt it.

In everything they performed, we sensed a deeply felt connection with the material, which was effectively transmitted to the audience. The program opened with Ottorino Respighi's "Pioggia" in which Mr. Glen's piano produced the raindrops and Mr. Bliss' voice had us inhaling the scent of nature refreshed. Similarly, Respighi's "Nebbie" filled us with the coldness and loneliness of a barren landscape with Mr. Glen's decisive piano making significant contributions.

Three songs by Vincenzo Bellini delighted us: "Malinconia, ninfo gentile",  "Vanne, o rosa fortunata", and "Ma rendi pur contento". All were performed with full attention paid to Bellini's long melodic lines.

Of the four Benjamin Britten songs, we are happy to report that every word was understood, due to superlative English diction. We wish that were always the case but it is not to be taken for granted. We loved the charming "Sally in our Alley".

Two sonnets were performed: Britten's "Spirito ben nato" from Seven Sonnets of Michelangelo (noted for some lovely a capella phrases) and Franz Liszt's "Pace non trovo" from Tre sonetti di Petrarca. Having heard this a dozen times this year at various master classes, we thought we were tired of it.  But yesterday we seemed to be hearing it for the first time. The artists brought it to a thrilling dramatic climax.

Opera was not neglected. "Una furtiva lagrima" from Donizetti's L'Elisir d'Amore was absolutely stunning.  Never mind that we just heard it the night before! It was sung with depth and simplicity; the messa di voce at the end was exquisite.

A group of French songs by Henri Duparc and Ernest Chausson were beautifully performed with lovely long Gallic lines and not a whiff of effeteness.  Perhaps our favorite was Reynaldo Hahn's "L'heure exquise" with its delicate piano part and the vocal skips upward.

A prior reviewing commitment forced us to leave before the final set of songs. We hated missing any part of this recital. This is one recital that will remain in our memory.

(c) meche kroop

A BLISS-FUL RECITAL

Lachlan Glen and Ben Bliss

Our writing skills are insufficient to do justice to the artistry we witnessed onstage yesterday at the recital of the Lindemann Young Artist Development Program. We felt enthralled for 80 short minutes and wanted more. How do we find the words to convey what it's like to have one's heart and soul swept away in torrents of music? We may fail but we must make the effort.

Tenor Ben Bliss has a remarkable instrument, the timbre of which has a near magical effect on the very cells of the body. The phrase "liquid balm" comes to mind. One hears the tone and it's as if one is in touch with the music of the spheres.

Add to this the musicianship--the phrasing, the diction, the pacing--and every song became a mini-opera. Mr. Bliss seems to be so involved with the emotional tone of each song and conveys it so successfully that it becomes a shared experience. We sat with moist eyes, partly from the sheer beauty we heard and partly from identifying with the emotions in many of the songs.

To add to the intensity of the experience we had the piano partnering of Lachlan Glen who touches the keys and thereby touches the heart. He seemed to become one with the instrument and brings forth joy and sorrow, delicacy and passion, each in its own turn.

The first half of the program included songs of Vincenzo Bellini and Ottorini Respighi. The three canzone by Bellini are well known to us and much loved. "Malinconia, Ninfa gentile", "Vanne, o rosa fortuna", and "Ma rendi pur contento", which was rendered with great delicacy. We are sure that Bellini would have loved the interpretations which were imbued with a great variety of color.

As far as the Respighi songs, they belong to the category of songs that we've heard that never made much of an impression on us. All that was changed by Mr. Bliss and Mr. Glen who took them to an entirely new level. 

In "Pioggia", the poet (Vittoria Aganoor Pompilj) speaks of "il tumulto dei colori" and Mr. Bliss sang in such a tumult of colors!  In "Nebbie" the lonely unloved feelings of the poet (Ada Negri) came through with such clarity that we wept. The gradual crescendo led to feelings of near horror at the conclusion. We have written before about how a deeply felt performance can change the way we feel about a song and such was the case.

Franz Liszt's "Pace non trovo" from Tre Sonetti di Petrarca was filled with passion and clearly illustrated the poet's bafflement over his contradictory feelings towards the mysterious Laura. Each feeling came through by means of adept and artistic word coloring. There was a suspenseful pause just before the final pair of lines ("In questo stato son") in which we realized we were holding our breath!

The second half of the program included the participation of The Kleio Quartet: violinists Christina Bouey and Clare Semes, violist Isabel Hagen, and cellist Madeline Fayette. Ralph Vaughan Williams composed the evocative On Wenlock Edge in 1908, scored for tenor, piano and string quartet. The influence of Maurice Ravel is marked. The text is from A.E. Housman's A Shropshire Lad.

The instrumental effects are poignant and add greatly to the tenor's storytelling. We heard "From far, from eve and morning", followed by the very sorrowful " 'Is my team ploughing" in which the texture of cello and piano alternated with the voices of the violins and viola. Mr. Bliss brought out the chilling end, as a storyteller must.

Mr. Glen employed his piano artistry well in "Bredon Hill"; there was no missing the pealing of the church bells. This sad tale had the violins weeping.  And we wept along.

Mr. Glen had his chance to shine in his performance of Ravel's "Jeux d'eau" for solo piano. He addressed the audience and shared that the piece represents the river goddess laughing as the waters of the Fountain of Versaille tickle her. Needless to say, our ears were equally tickled as Mr. Glen's fingers tickled the ivories.  What a performance!

The program closed with a few unusual choices. Mr. Bliss began "As I went down to the river to pray" a capella and with great simplicity.  Then the piano entered and each verse grew in fervor. It became a work of wonder.

Ann Ronnel's "Willow weep for me" was followed by "Orange colored sky" by Milton De Lugg and Willie Stein, a jazzy number that Mr. Bliss sang with flair and more than enough facility with "scat".

As encore we heard in impeccable German the luscious arietta "Magische Töne" from Karl Goldmark's 1875 opera Die Königen von Saba. The music and the words are equally seductive and Mr. Bliss floated the notes of his upper register in a lingering pianissimo. We could feel the "milde abendluft".  Pure Bliss!

(c) meche kroop