CARMEN CONDENSED

Doug Durlacher, Sichel Claverie, Brent Reilly Turner

We had barely recovered from the emotional impact of Heartbeat Opera's Madama Butterfly when we were hit with another wallop by their Carmen. When we planned this "double feature" evening, we were expecting a pair of "Cliff Notes" of the two operas.  After all, how much could one say by truncating an opera into an hour and a half?  Surely we were in for a light-weight experience!

How wrong we were! The right people can say a great deal in a short period of time. By knowing just what to strip away and where to put the emphasis, a revised and abbreviated version of a beloved opera can have a huge impact and take us to new places. Co-Artistic Director of Heartbeat Opera Louisa Proske directed a compressed essence of Carmen that left us feeling stabbed in the heart.

This condensed Carmen took us to a new place, a borderland between two places where anything might happen. Kate Noll's set was a guard house with a chain-link fence surmounted by barbed wire. A very athletic Carmen is creeping on the ground, then climbing up and over the guard house. Was it Chloe Treat's amazing choreography that had her crawling in and out of doors and windows trying to escape the guards? In any case, it was raw and realistic.

There is no cigar factory.  There is no bullfight. There is no card game or mountain passes. No Mercedes, no Frasquita, no Remendado or Dancaire.  No Lilas Pastias' Tavern. There is only the story of four people and two triangles. Micaela loves Don Jose. He is conflicted.  His mother wants him to wed this "good girl" and lovely soprano Jessica Sandidge was perfect in the part. She was most affecting in her aria "Je dis que rien ne m'epouvante". Her body language and voice joined forces to make us feel both her terror and her faith.

But Don Jose (the fine tenor Brent Reilly Turner) has become entranced by this highly intense Carmen, portrayed with wild abandon and stamina by the impressive smoky mezzo-soprano Sichel Claverie. Her infatuation fades when she encounters Escamillo--a bullfighter by libretto, but in this case a hopped-up coke-snorting hoodlum. In this role, baritone Ricardo Rivera gave an amazingly physical performance that had elements of humor that the audience appreciated.

Mr. Ricardo is no stranger to singing this role but we are quite sure he has never performed it like this before. One funny moment occurred as he entered with "You know who I am? Play my song!". The audience roared with glee but hushed as soon as the jazz orchestra (saxophone, guitar, violin, viola, bass, and piano) struck up a unique arrangement of "The Toreador Song".

Daniel Schlosberg was Music Director for this production, both conducting and playing the piano, as well as arranging the score. In the afore-mentioned scene, the musicians have joined Carmen and Don Jose and a generic smuggler (Parker Drown) to dance and swill beer in an improvised fiesta under colored lights.

Ms. Claverie gave an enticing delivery of the "Seguidilla" and we thought we wouldn't get to hear the "Habanera" but she sang it after Don Jose stabbed her as a kind of postlude commentary. After the knockdown dragout fight with the violent Don Jose (Fight Director was Rick Sordelet) we don't know how she found the breath to fill out the phrases so well but she did.

So we got most of Bizet's luscious music along with a fresh look at an old favorite.

Beth Goldenberg's costumes were a propos.

The opera world is becoming increasingly specialized with so many small companies occupying their own niches. Heartbeat Opera has established theirs in presenting radical adaptations of the classics, being both physically and emotionally right in your face. That they are speaking to the 21st c. is evident from the youthful composition of their audience. Their new home at the Baruch Performing Arts Center appears to be just right with ample student input!

(c) meche kroop

BEETHOVEN'S SINGLETON

Lindell Carter, Madison Marie McIntosh, Steven Herring, Brent Reilly Turner, Maestro Keith Chambers, Kirsten Chambers, Kevin J. Langan, Kian Freitas, and Richard Cross

Last night we had the privilege of being present at a birth.  The birth went smoothly and the newborn is healthy and gave some lusty cries. The birthplace was adequate but this baby needs some growing room!  The babe was named....New Amsterdam Opera and was delivered by Maestro Keith Chambers,

We consider it ambitious to have tackled Fidelio, Beethoven's sole opera; thanks to some fine and highly accurate conducting as well as some excellent casting, the night was a huge success. The large church was filled to capacity and the standing ovation impressive. Musical values were so high that sets and costumes were not missed.

Beethoven wrote this opera in 1805 but tinkered with it until its final version was completed in 1814. Two interesting decisions were made by Maestro Chambers: although there were never any recitativi, the opera contained spoken dialogue and Mr. Chambers replaced this with narration by the eminent Richard Cross; although the original overture (thought to be too weighty for the opera) is generally presented as a concert piece, here it was inserted between the two scenes of Act II, not an original idea to be sure but not a treat one can take for granted. 

The story is a straightforward one. The wife of a political prisoner disguises herself as a man and gets a job at the prison where her husband has been unfairly incarcerated. She wins the trust of the warden and finally manages to rescue her beloved. She also inadvertently wins the love of the warden's daughter Marzelline who is pursued by Jaquino.

Soprano Kirsten Chambers has a sizable voice with great overtones, one in which musical values are never sacrificed for volume. As the loyal and heroic titular character (first "Fidelio" and later "Leonora" when her gender is disclosed) she was completely believable. We loved her passionate aria in Act I.

We also loved the duet between Ms. Chambers and Madison Marie McIntosh, whose focused voice and youthful appearance perfectly suited the role of the innocent Marzelline. The two very different sopranos sounded brilliant together.

We do not get to hear the voice of the imprisoned aristocrat Florestan until Act II. The character has been starving in a dungeon for two years but tenor Brent Reilly Turner managed to color his robust voice to indicate  both hope and faith. His big aria is introduced by a sorrowful theme in the orchestra, with Maestro Chambers' handling of the brass particularly impressive.

As the jailer Rocco, bass Kevin J. Langan was particularly fine, both vocally and dramatically. His German was especially fine, a quality we prize inasmuch as there were no titles. We were sitting to the side and his clarity was evident no matter which side of the stage he occupied.

Baritone Steven Herring has a powerful voice and created a threatening character in the role of Don Pizarro, the nobleman who was responsible for jailing Florestan.  We found ourselves hating the character and loving the singer in equal measure!

Entering at the very end of the opera, announced by offstage trumpet, was the Governor Don Fernando. Bass-baritone Kian Freitas did justice to the role.  It was a special moment when he allows the unmasked Leonora to remove her husband's chains. He makes the theme of the opera very clear--story and music both reflect Beethoven's passion for liberty and heroism.

Some special moments that we enjoyed were the quartet in Act I and the prisoner's chorus in Act II. Their placement up high behind and above the orchestra allowed their voices to be heard. Props go to Chorus Master Tony Bellomy.

We cannot comment on tenor Lindell Carter's portrayal of Jaquino because we could not hear him. Part of this can be attributed to his being stage right whilst we were sitting on the other side. Still, singers with larger voices or better focused voices could be heard from wherever.

And that brings us to our one disappointment with the evening. West Park Presbyterian Church does not have great acoustics. The orchestra filled the stage and the singers were placed in front. Our dearest wish for this new company is that they find a home with an orchestra pit or an elevated playing area. They deserve it!

(c) meche kroop

LOTNY DOES FLOYD

Angela Mannino, Matthew Tuell and Tyler Putnam in Markheim (photo by Tina Buckman)

John Kaneklides and Carolina Castells in Slow Dusk (photo by Tina Buckman)

A double bill of Carlisle Floyd music-theater pieces was presented this past week by the ten year old Little Opera Theater of New York  with two rotating casts.  The first piece Slow Dusk was the composer’s first opera, written in 1949, and suffers from a less than dramatic libretto, Floyd’s own.  He presents himself a the poet of rural America just as Stephen Sondheim is the poet of late 20th c. Manhattan.  

The story concerns a young woman Sadie, beautifully sung by soprano Carolina Castells, who performed a lovely aria filled with foreboding.  Sadie is in love with young Micah, perfectly sung and acted by tenor John Kaneklides whose star is on the rise.  Their marriage is forbidden by Aunt Sadie and the reason had to be learned by consulting Wikipedia.  The exposition might have been given by Aunt Sue, sung by Janice Meyerson, whose interesting mezzo was marred by poor diction.  English is quite difficult to sing in a way that the audience can comprehend but the other three singers succeeded admirably.  Unfortunately Ms. Meyerson’s acting was way over the top and not in line with the mood of the piece. Baritone Robert Balonek made a fine appearance as Jess but we never figured out if he was Sue’s uncle or brother.  That’s what happens when one can’t understand the words.

The chamber orchestra comprised nine strings, harp, four winds and a wonderful percussionist (Charles Kiger) led by the excellent conductor Richard Cordova, who brought out all the nuances of Floyd's instrumental writing. The chamber arrangement by Inessa Zaretsky and Raymond J. Lustig worked well, even without a clarinet. The winds were particularly evocative over a carpet of sound laid down by the strings.  The orchestra nearly stole the show since Floyd’s vocal lines struck our ears as being less than melodic. 

The direction by Philip Shneidman was effective and Neil Patel’s simple set (lit by Nick Solyom) evoked an impoverished rural farm in the South.  Lara De Bruin's frumpy costumes were right on target.  The same excellent team was responsible for the more dramatically interesting Markheim which Floyd adapted from a Robert Louis Stevenson story in 1966.  It is a gothic tale taking place at Christmastime in 1880 in a pawnshop.  This gave Patel and De Bruin an opportunity to show their stuff.  The set looked exactly the way one would expect and the Victorian costumes were superb.

The singing was excellent all around.  Tenor Brent Reilly Turner created a very disagreeable pawnbroker of the Ebenezer Scrooge ilk. His ringing sound lent weight to the role as he toyed with his client, the reprobate aristocrat Markheim who has squandered his family fortune by gambling and is under the gun to repay some cutthroats.  He is guilty of theft, seduction and abandonment, blackmail and extortion—another thoroughly unlikable character.  But oh, what a fine baritone has Tyler Putnam whom we well remember from last summer at the Santa Fe Opera!  Both men’s acting was convincing.

It came as no great shock when Markheim strangled the pawnbroker who refuses to lend him money on a stolen work of art.  Enter….The Stranger!  This character, excellently portrayed by tenor Matthew Tuell, might be the devil and he might be a hallucination but he tries to provoke the eponymous anti-hero to murder Tess, the maid who is returning to the shop to retrieve a parcel.  Soprano Angela Mannino has a lovely stage presence with voice to match and the only character about whom we could care.  We were quite relieved when Markheim decided to spare her life and asked her to call the police.  This is evidence for the dramatic success of the story.

The work was bookended by a quartet of carolers comprising Ms. Castells, Ms. Meyerson, Mr. Kaneklides and Mr. Balonek, all from the curtain-raiser.  The overall quality of the production suited us more than the material.  But that’s just a consequence of our 19th c. Italian ears.

(c) meche kroop