THE DRAMA OF THE LIED

 

Lara Saldanha, Victoria Falcone, and Nina Riley (photo by Andrew Bisdale)

If you were fortunate enough to have attended Dell'Arte Opera Ensemble's concert last night at the A.R.T. Center you would have experienced what a lieder recital can and should be. In a program conceived by Maestro Chris Fecteau, each set of songs became a mini opera, since each set had a theme.

There was an overall unity to the program since all of the texts were written by Paul Heyse who translated them from Italian--hence the title of the concert Italienische Liederbuch. Most fans of lieder have heard Heyse's poetry as set  by Hugo Wolf under that very name. But many of us, ourself included, did not know the wealth of material set by other composers. 

We did, of course, know that other German texts have been given multiple settings by different composers but this assemblage had a dramatic intent, the realization of which was an original and effective undertaking. Although no director was listed in the program, we will hazard a guess that Mo. Fecteau undertook the task and it was a fine undertaking indeed.

The material was not organized by composer, but rather organized along the principle of theme, so each listener was swept into the mini dramas and offered an opportunity to access his or her own memories and imagination.

Hermann Goetz's brief period of composition predated that of the late 19th century Hugo Wolf whereas Joseph Marx's heyday was somewhat later. Nonetheless, there is enough similarity within German Romanticism to unite the works, which also included one by Brahms and also Arnold Mendelssohn (a relation of Felix). There was no jarring as there might have been if modern compositions had been included.

The first set of songs was entitled "Young Lovers" and found the bright-voiced soprano Nina Riley locking gazes with the richly voiced mezzo-soprano Victoria Falcone. Both singers amplified the vocalism with dramatic enactments of flirtation. Accompanying with panache at the piano was Lara Saldanha.

We have special admiration for singers who deliver their material "off the book" which makes for better audience contact and soprano Ellen Teufel accomplished that with ease, accompanied by Mo. Fecteau himself who is always a pleasure to hear.

Following was an exploration of a love triangle comprising soprano Heather Bobeck, mezzo-soprano, Olivia Ericsson, and tenor Stephen Steffens. The facial expressions and gestures of the two women were priceless. Furthermore, it was a pleasure to hear Mr. Steffens in gentler material than that written by Mozart for Emperor Tito, which we had heard the night before.

The relationship between Father and Daughter was well explored by soprano Elizaveta Kozlova and bass Jason Adamo who presented a very distant father who seemed never to look at his lovely daughter. David Stech accompanied and also provided an absolutely delightful interlude.  Felix Mendelssohn' Songs Without Words do not need words but his "Barcarolle" in the hands of Mr. Stech produced images of Venice in my mind's eye, a gentle swaying in my body, and strangely enough, in my mind's ear, the lonely musings of the gondolier paddling himself home at the end of the night! Words were not needed but they came unbidden.

Soprano Clara Lisle joined with tenor Andres Penalver for songs about love transcending death, accompanied by Ms. Saldanha. Just when we thought the program was over, we were fortunate enough to have two more songs by Ms. Teufel accompanied by Mo. Fecteau. We observed that Ms. Teufel is always "off the book" and in a position to make good contact with the audience. In the Wolf "Gesegnet sei" she was very still but seemed to loosen up with her gestures in Marx's "Ständchen". We had the thought that her artistry could go from an "A" to an "A-plus" if she could make her gestures more specific. This is a fine point we have been becoming more aware of recently. It takes a performance to a higher level.

Although we could happily have listened to more, we did feel satisfied by the program, which succeeded in accessing our own memories and associations. As in the other two events of Dell'Arte's 25th season, we were very happy with the organization of the space and the clarity of the supertitles. We found ourselves wishing there were more events!

© meche kroop

#MeToo DON GIOVANNI

Elyse Kakacek (Zerlina) and Eric Lindsey (Don Giovanni)-- Photo by Brian E. Long

Mozart's Don Giovanni is one of our very favorite operas and we always prefer to see it as Mozart and librettist Lorenzo Da Ponte intended. But this year we have seen a few radical interpretations that held our interest. Last night, Dell'Arte Opera Ensemble presented a version directed by Owen Horsley that was informed by the #MeToo movement. It is no secret that men in power often operate with a sense of entitlement that expresses itself toward attractive young women. Da Ponte didn't invent the concept!

The problem with presenting centuries-old stories with a modern twist is that of the Procrustean bed. Situations don't always fit right and those of us familiar with the traditional will be more than usually aware of the lapses. Those new to opera, like our companion last night, seem to take these lapses more easily.

Particularly, we hadn't a clue as to why Donna Anna, dressed like a secretary applying for a job,  was sitting on a chair outside Don Giovanni's door, from which she fled shortly after entering with her hosiery falling down. Perhaps she was meant to be an actress auditioning for a part. Who could tell? Of all the characters, hers was the one lacking a point of view and a backstory. We simply couldn't connect.  And after being brutally beaten with his own cane by Don Giovanni, why does the deceased Commendatore get up and walk out?

Well, this is opera so let us focus on the musical values which were splendid all around. To begin with, Maestro and Artistic Director Chris Fecteau wielded his baton with precision and gusto, giving us a satisfying reading of Mozart's score. We were delighted to hear some of the inner voices that often get swallowed up in larger venues. The Dell'Arte Festival Orchestra played beautifully for him and Lucas Barkley made some fine sonorities on the harpsichord. 

The overture was replete with portentous chords and anxious ascending and descending scale passages, setting the stage for the drama to follow. We always love the musical jokes when the onstage musicians play for Don Giovanni's dinner and Leporello complains about hearing an excess of Mozart's music! But here, the musicians were not onstage. We also missed the strange music in the party scene in which we hear music both refined and rustic in simultaneous cacophony.

The singers were superb. As the eponymous Don, Eric Lindsey's low and resonant voice was employed with fine phrasing. His Don walked a fine line between being charming and being violent. His immersion in the character was total and we found ourselves alternatively drawn in and repelled by him. The "Champagne Aria" was splendidly performed.

His scenes with Zerlina were some of the best of the evening. The duet "Là ci darem la mano" was delightful. Soprano Elyse Kakacek, another Dell'Arte regular, stunned us by her unwavering presence in the role. Her bodily and facial gestures were completely consonant with what was happening onstage. She was an all-too-willing "victim" for Don Giovanni's seduction. Her "Batti, batti" was beautifully sung, as was "Vedrai carino", strangely delivered sitting in a chair, facing the audience and not Masetto.

Nobuki Momma's Masetto was a well wrought characterization and his interactions with Don Giovanni and with Zerlina were completely convincing and seemed very au courant. We loved the scenes of the wedding with bridesmaids and ushers taking selfies and Masetto taking offense at Zerlina's unseemly behavior.

An outstanding performance was delivered by Jonathan Harris in the role of Leporello, Don Giovanni's much-abused manservant.  Like Ms. Kakacek, every facial expression and gesture reflected what was happening onstage; he used his excellent instrument with artistry. We loved his duet with Ms. Kakacek "Per queste tue manine" which we have rarely heard, and his sensational "Catalog aria" made use of a portfolio of photos, rather than the customary list.  Very 21st c.!

Three cheers for the Donna Elvira of soprano Jessica Mirshak. Not only was her "Mi tradì quell'alma ingrata" convincing in its self-righteous anger but her entire characterization gave us the feeling that we knew who she was and how she suffered and how entranced she was by the vile seducer.

Tenor Morgan Manifacier fulfilled the demands of the role of Don Ottavio, whom Donna Anna will probably never marry. He exhibited just the right degree of ardency which was just not ardent enough to win her affection. "Il mio tesoro" was cut (and missed) but he did well with "Dalla sua pace".

Soprano Jenny Lindsey lent her lovely voice to Donna Anna in "Non mi dir"; our only problem was trying to understand who she was. Perhaps it was the unflattering costume and some very distracting flashy sandals but she came across as a cipher. Perhaps a stronger directorial influence was needed. A novel directorial approach was that she was clearly lying to Don Ottavio about the so-called rape. This confused us further. He was never masked and she entered what appeared to be his hotel room willingly.

Hector Mori took the role of the Commendatore whom Don Giovanni invited to dinner. He appeared with stripes of white chalk on his face, presumably representing ghosthood.

Matthew Iacozza's set comprised a bunch of identical doors, through which characters came and went, lending a more farcical tone to the action than we might have wished. There were several instances when we were confused about what space the characters were entering or leaving. We sometimes wished that they had just walked in from the sides. 

The theater at La Mama has a balcony on three sides and we also wished that the serenade scene "Deh vieni alla finestra" had made use of it! There was nothing onstage to indicate the cemetery scene. We could have been anywhere. Props like cell phones told us that the drama was taking place in the present.

Dante Olivia Smith's lighting didn't quite succeed. A number of scenes would have benefited by being darkened, especially when Leporello exchanges clothing with his master and fools Donna Elvira. 

Claire Townsend's costumes were satisfactory, except for that of Donna Anna who sported flashy sandals with a modest dress. Zerlina's wedding dress, on the other hand, was perfect in demonstrating her sexual wavering.

Although Mr. Horsley's concept paid total attention to the rampant sexism, it ignored the classism so important to the tale. There was no differentiation between the so-called aristocrats and the so-called peasants. Perhaps this was intentional. Lecherous men feel entitled to all women regardless of their social class! The important thing here was that the women all stuck together and celebrated the destruction of the man who behaved so badly.

To summarize, we had a marvelous time, enjoying both the music and the characterizations. Our puzzlement over some directorial choices did not hamper our pleasure and probably won't hamper yours either, dear reader.

Take our advice and try to snag seats for the final performance Saturday night.  You will be both entertained and stimulated to think about gender relationships.

(c) meche kroop

SUPERSIZE ME

The sterling cast of Salieri's La Cifra, presented by Dell'Arte Opera Ensemble
(photo by Brian E. Long)

Leave it to Dell'Arte Opera Ensemble to uncover an opera heretofore unknown and to give it a sparkling and delightful American premiere performance. Its success rests upon many shoulders. Rising star director Brittany Goodwin has put a commedia dell'arte spin on Salieri's La Cifra which might have otherwise flopped. Actually, we can't imagine it presented in any other way, having enjoyed this zaniness so thoroughly. Ms. Goodwin is relentlessly clever.

And there are many other shoulders to credit. The Dell'Arte Festival Orchestra, led by Maestro Catherine O'Shaughnessy (and isn't it great to see a woman conducting!) played Salieri's tuneful music in a manner that led to total appreciation of this underrated composer.  As a matter of fact, having heard his Falstaff and this opera, we are sure that he would have been far more popular today had he not been eclipsed by the young Mozart. 

The fine cast of young artists appear to have profited handsomely from their summer session and avidly picked up Ms. Goodwin's direction, capturing the ancient commedia dell'arte style. Gestures and facial expressions were super-sized and outlandish. Yes, these are stock characters but they also managed to have individual personalities that went beyond what was expected.

In the starring role of Rusticone (rustic, get it?) bass-baritone (we think) Angky Budiardjono handled the vocal demands and the comedy equally well. His character, based on Pantalone, is a conniving old goat who has hidden the aristocratic identity of his foster daughter Eurilla, along with her inheritance, in the hopes of marrying her. In this role, soprano Rachel Barker-Asto revealed her bel canto chops and created a sympathetic portrait of a modest and good-hearted young woman. We loved the way her killing of a dangerous wild boar (with a paper rifle!) changed her personality to one of swaggering confidence.

She has grown up as Rusticone's daughter, unaware of her aristocratic birth. Her step-sister Lisotta, given an outsized portrayal by the excellent mezzo-soprano Allison Gish, is out to snag Milord (the aristocratic tenor Timothy Stoddard) who rode into town on a hobby-horse and promptly fell for Eurilla. Lisotta's character is vain, insolent, and self-important with aristocratic pretensions. There are funny scenes of the sisters fighting and reconciling.  Of course, Eurilla, with Cinderella-like magnanimity, forgives everyone in the end.

Sandrino is the Pierrot-like character, in love with Lisotta. The role was beautifully rendered by baritone Jay Chacon. This was a very anxious suitor, breathing from a paper bag, ostensibly to deal with panic attacks. We wondered whether 18th c. folk were aware of that remedy!

Milord's side-kick Leandro was performed by tenor Stephen Steffens; the excellent chorus comprised Makayla McDonald, Andrea Howland, Sam Strickland, Nicholle Bittlingmeyer, Ian Joyal, Charles Calotta and James Healy .

The inventive staging was as impressive as the singing. During the overture, members of the ensemble ran around setting up the stage with curious props. Sheets were suspended between ladders and later the ladders held a suspended clothesline. A head of cabbage made several appearances for characters to swear upon. Little light bulbs ran across the front of the playing area. Trunks were brought in and some basic furniture. Rain was created by tossing handfuls of packing popcorn. At one point, Milord wore glasses with bulging eyes popping out on springs. Every item added to the fun. Matthew Iacozza is credited with Scenic Design.

As far as Claire Townsend's zany costumes, they fulfilled Ms. Goodwin's concept to a "T", as one can see from the above photo.

Ms. Barker-Asto had her chance to shine in several arias; in her second act lament, a two-part aria seemed a preface to the bel canto aria with its lively "cabaletta". As a matter of fact, a number of features presaged the bel canto period, especially the wild and crazy sextet which ends Act I.

We enjoyed her love duet with Mr. Stoddard, replete with tenderness and exquisite 18th c. harmonies.  If serious drama requires comic relief, can we say that comedy requires some romantic relief?

Mr. Stoddard also did some fine work in his arias and in the male trio in Act I.  Mr. Chacon got his big aria in Act II but also had a fine duet with Ms. Gish.

There was a charming group dance when the townsfolk gathered, which reminded us of English country dancing. We understand that Owen Horsley, himself an award-winning Scottish dancer, is responsible for the choreography.

And once more we enjoyed Artistic Director Chris Fecteau playing the hell out of the harpsichord for the recitativi.

The ins and outs of this topsy turvy plot were created with panache by Lorenzo Da Ponte, whose libretti served Mozart so well. We recommend that you grab a chance to see this work. Who knows when you will get another chance. Try to get tickets for Friday night or Sunday matinée. You might get lucky!

(c) meche kroop

VIOLETTA AND HER SISTERS--by Dell'Arte Opera Ensemble

Sean Christensen as Des Grieux and Nick Webb as his father in Massenet's Manon
(photo by Mark Baker)

Bonnie Frauenthal as Violetta embraced by Jose Heredia as Alfredo in Verdi's La Traviata (photo by Mark Baker)

Scene from Leoncavallo's La Bohème (photo by Mark Baker)

Scene from Puccini's La Rondine (photo by Mark Baker)

Every August we hurry back from Santa Fe to enjoy Dell'Arte Opera Ensemble's season, which always offers fresh delights. The theme of this year's season was "Violetta and her Sisters", comprising a selection of operas, the heroines of which were members of the demimonde. A very fine program note by Director Victoria Crutchfield provided new insights into the subculture of these women. It is happily left to the audience to ponder whether such women exist in 21st c. America.

Dell'Arte Opera Ensemble serves young artists by bridging the gap between academic training and a successful career; participants receive coaching, master classes, and performance opportunities. They serve the opera loving public by providing low cost high quality performances. One gets to see the stars of tomorrow at the early stages of their careers.

Verdi's La Traviata was given a highly moving production, thanks to some wonderful performances. As Violetta, soprano Bonnie Frauenthal sang and acted as beautifully as one might wish; right from the "Sempre libera" of Act I, we knew she was right for the part.

As her young respectable lover, tenor Jose Heredia pulled his performance from a very deep place.  He seemed to live the role, rather than act it; his pure voice has a lovely tonal quality. We particularly enjoyed his "De', miei bollenti spiriti".

Mezzo-soprano Hillary Grobe was an impressive Flora and soprano Ileana Santamaria made a fine Annina.  Violetta's patron Barone Douphol was portrayed by the versatile baritone Nobuki Momma with Boris Teodoro as the Marchese d'Obigny and Kofi Hayford as the good Dottor Grenvil.

Christopher Lilley sang the role of Gastone who sets the plot moving by introducing Alfredo to Violetta. Jeremiah Johnson brought very little to the role of Giorgio Germont, Alfredo's father, delivering an unattractive sound and no variation of color.

Famous baritone Kyle Pfortmiller directed; we especially enjoyed his staging of the party scenes. John Spencer IV conducted the Dell'Arte Opera Ensemble Festival Orchestra in a fine reduction suitable for the score of musicians. We appreciated Mary Ellen Stebbins lighting design in the final act when imaginary drapes are opened and dawn lights up the set.

Violetta happens to be one of our favorite characters in opera and Manon is one of our least favorite. Violetta has character and dignity. Manon is just a selfish manipulative tramp who destroys those around her.  In this production, directed by Victoria Crutchfield, we see her as the materialistic slut she really is.

Even in Act I, as portrayed by soprano Olivia Betzen, she does not seem to be all that innocent. Apparently her family is shipping her off to a convent for some very good reasons.

Her admiration of the three  glamorous "kept women" and her flirtation with the arrogant Guillot Montfortaine (superbly portrayed by Andrew Surrena) plus her stealing of the coach give us ample indication of her lack of character. One can dislike the character and admire the performance, which we did, especially her "Adieu, notre petite table". 

As the foolish Des Grieux, Sean Christensen handed in a stellar performance. The tessitura is high but he rose to the challenge, singing with pure tone, lovely phrasing, and impeccable French diction. The sincerity of his acting had us feeling very sorry for the character.

Baritone Nick Webb was superb as his severe father who was just as critical of his involvement with the church as he was of his son's involvement with Manon.

We did not care for the Lescaut of baritone Stan Lacy whose harsh voice lacked variety of color. The versatile Mr. Momma made a slimy Brétigny who joined forces with Lescaut to pry the all-too-willing Manon from the arms of Des Grieux.

We very much enjoyed the performances of the three "actresses"--Kristina Malinauskaite as Poussette, Perri Sussman as Javotte, and Hillary Grobe as Rosette.

Chris Fecteau himself wielded the baton, guiding the Festival Orchestra through Massenet's gorgeous melodic score. Anyone possessing a pair of ears could not help but leave humming the several tunes that wove the score together.

A third evening paired Act I from Puccini's reasonably well known La Rondine with Act I and Act IV  of Leoncavallo's forgotten La Bohème.  Director Brittany Goodwin staged the Puccini work in the 1960's, which worked surprisingly well.

Soprano Rebecca Richardson sang the role of Magda, a woman supported in high style by the grumpy but generous Rambaldo (Mr. Momma again!) but eager for a new experience with the young Ruggero (Mr. Christensen again). We enjoyed her recapitulation of the aria "Chi il bel sogno di Doretta", introduced by the poet Prunier (Douglas Sabo).

Emily Hughes shone in the role of Lisette, Magda's personal maid, who amusingly helps herself to Magda's attire. Her scene with the contemptuous Prunier criticizing her taste was amusing.

Magda's three friends, in full hippie regalia, were pure delight. Yvette was sung by Zoe Hart, Bianca by Taylor Kirk, and Suzy by Sophia Mortensen.

The surprise of the season was Leoncavallo's version of the same Henri Murger stories we know from the Puccini work. Leoncavallo wrote his own libretto whereas Puccini employed the services of Illica and Giacosa. Although the music is wonderful, the libretto may have been responsible for the failure of the Leoncavallo work to survive.

The characters are pretty much the same, although Marcello has been assigned the lead role in the tenor fach. In Act II, Marcello gets a wonderful aria "Io non ho che una povera stanzetta" which was recorded by Enrico Caruso but not heard on this particular night.

Jose Heredia made a fine Marcello with the lovely Magda Gartner as his girlfriend Musetta. Jay Chacon sang the baritone role of Rodolfo with soprano Ileana Santamaria singing beautifully as Mimi. Mr. Momma portrayed Schaunard who, in this version, has a clingy girlfriend Eufemia (mezzo-soprano Nicholle Bittlingmeyer) whom he treats dismissively. Colline was sung by Bert Boone.

Direction was by Joule Voelz. This is the first season for the Opera Leaders Mentorship Program in which young stage directors, designers, conductors and pianists get expert guidance on the job.

All participants in the program leave with something of value. The singers have at least one new role "under their belt" and many of them have several. This surely enhances their employability.

And members of the audience appear to be enjoying themselves enormously as evidenced by the standing ovations.  These were evenings well spent!

(c) meche kroop