REMMERS CAPTIVATES WITH GILBERT AND SULLIVAN

 

William Remmers

Might there be a lover of the works of Gilbert and Sullivan here in New York City who is unaware of the multi-talented William Remmers and  Utopia Opera? If so, it pains us to inform you that last night's survey of songs from all of the G&S canon will not likely be repeated. That being said, we hope it will be. Indeed, if it were being presented tonight we would joyfully attend once more.

What a banquet of goodies, with one marvelous song seamlessly following another in a sequence that worked magnificently as a live "playlist"; the order of numbers seemed randomly determined but included something from every one of  W.S. Gilbert and Arthur Sullivan's enormous output.

Why do we so love those Savoyards? For the same reason that most of the United States adores South Park. We relish seeing the skewering of politicians and political bodies. We love hearing witty words composed around silly plots satirizing contemporary culture. And, although the average audience member may not be consciously aware of the perfect marriage of music and text, we feel it in a way that we do not feel when sitting through a contemporary opera with its prosy libretto. The rhymes are nearly always brilliantly devised.

It is most interesting that Remmers can sail through the many patter songs faster than one can read the projected titles, for which we would like to credit Alyson Sheehan. The titles were cleverly arranged on the page and were projected in perfect time with the singing. The witty words go by so fast that one misses a lot, not to mention the multiple references to British institutions and historical figures of whom we are ignorant. Significantly, our companion, for whom English is but a second language, had a wonderful time enjoying the rhythm and sound of Gilbert's text and Sullivan's music without knowing any of the references.

Whilst giving credit, Erica Rome did a yeoman's job (🤦sorry about that) of accompanying on the piano . The chorus, comprising Heather Bobeck, Karina Vartanian, Cate Webber-Curry, Colin Safley, Marc Shepherd, and Zachary Tirgan provided the tuneful and coherent backup.

However, the evening belonged to Remmers. We know the artist primarily as the Founder and Artistic Director of the singular Utopia Opera--and also as conductor of their orchestra. We have heard of the artist's forays into the world of cabaret, film making, and also musical composition.. Tonight we appreciated Remmers as a performer, singing and acting a succession of characters of a diverse nature. What artistry at creating scenes , performing all the parts. Indeed, in the second part of the evening, we enjoyed an entire scene from Ruddigore in which Robin confronts his ancestors about the family necessity of creating evil deeds on a daily basis.. Remmers has a long limbed and limber body as well as an expressively mobile face that make this theatrical legerdemain succeed.

In "Oh, foolish fay" from Iolanthe, Remmers created a Queen of the Fairies without benefit of costume, using only vocal coloration and physical posture. Although dozens (yes, dozens) of numbers seemed more difficult, like the patter songs for which G&S were renowned, it was this aria that touched us most deeply. We couldn't help thinking of grand opera in which a dazzling display of coloratura fireworks may be followed by a limpid legato.

There was one talent that Remmers displayed that took us by surprise--that of a rather good guitarist, self-accompanying for several numbers.

One of our favorite numbers is always "I've Got a Little List" ("As Someday It May Happen") from The Mikado in which tradition permits wanton invention, rewriting the text to suit the political moment. As an amusing diversion, Dear Reader, we invite you to make your own list of people who "never will be missed". Clearly Remmers is someone who would be missed and we are so happy not to have missed this delightful show.

© meche kroop

WHAT TO DO WITH A POLYMATH

Sheena Ramirez, Jonathan Fox Powers, Richard Holmes, William Remmers, Erica Rome, Emily Geller, Victor Ziccardi and Cristiane Young

One of the songs from Gilbert and Sullivan's Iolanthe concerned one De Bellville, a polymath who was "kicked upstairs" to the House of Lords after delivering "inconvenient speeches" on the floor of the House of Commons.  Sadly, this song has been lost to us but we have our very own polymath on hand in the person of William Remmers.

Mr. Remmers founded Utopia Opera three years ago and currently occupies positions as Stage Director and Music Director.  Moreover he was favorably reviewed by us for his conducting of Der Freischutz.   Last night as host of the Second Annual Fundraising Gala at the National Opera Center, he greeted the audience and then joined the terrific pianist Erica Rome for the four-handed overture, and then sang the role of The Lord Chancellor.  We have nothing but good things to say about his fine voice and acting and his very funny style.  He is unique.

The production itself was an absolute delight.  Gilbert and Sullivan always strike us as the Rogers and Hammerstein of the 19th c.  Contemporary composers could certainly take a page from their book!  How rare it is to have artists who understand how to make the most of the English language.

Iolanthe was written at the height of their popularity and skill, the seventh of fourteen collaborations.  It is an hilarious satire of British politics that is, in many ways, relevant to our very own Congress and the recent Occupy Wall Street movement.  In this comic opera, a simple shepherd Strephon is in love with Phyllis, the ward of The Lord Chancellor who wants to marry her himself.  Does this perhaps remind you of, say, Il Barbiere di Siviglia?

Strephon, sung by the fine baritone Jonathan Fox Powers, is the 25 year-old son of the fairy Iolanthe and a mortal (guess who!). Iolanthe has been banished by the Queen of the Fairies for breaking the fairy law against just such a union.

The lovely Phyllis, performed by the fine soprano Sheena Ramirez, doesn't believe that Iolanthe could be Strephon's mother because, as a fairy, Iolanthe doesn't age and appears to be but 18 years old. In the revelation scene we couldn't help thinking of the similar scene in Nozze di Figaro when Suzana repeats "Su madre?  Su madre?".  In the title role, mezzo Emily Geller sang superbly and created a most sympathetic character.

There are many twists and turns in the plot and lots of memorable melodies.  We cannot forget the male chorus' rendition of "Loudly Let the Trumpets Bray".  The diction was so fine that we will excuse the chorus members who sang holding their scores.

The Lord Chancellor entered to music sounding very much like a tribute to Bach and Mr. Remmers' patter songs brought grins from ear to ear.  We loved "When I Went to the Bar" especially the repeated phrase "Said I To Myself, Said I".

Ms. Ramirez and Mr. Powers had some beautiful love duets and Ms. Geller was very moving in her solo "My Lord, a Suppliant At Your Feet".  As Queen of the Fairies, contralto Cristiane Young provided comic relief at every turn. Simply to hear her repeating the word "frogs" with various intonations was enough to send us into the LMAO state.

Three very graceful and spirited young women, Kelsey Peters, Eva Parr and Laura Yumi Snell were perfectly cast as the fairies Celia, Leila and Fleta.  They not only sang but had some charming ballet moves as well.

Richard Holmes sang the role of the Earl of Mountararat and Victor Ziccardi performed the Earl of Tolloller.  The two were very amusing as they competed for the position of Phyllis' nobly born husband.  Robert BK Dewar was Private Willis of the Grenadier Guards.

The costumes were lovely and apropos.  There was no set except for what one created in the eyes of the mind, but none was needed. With acting and singing that fine, nothing was missed.

This is the only opera company we know of that lets their audience choose the operas.  The last one of this season will be Verdi's Falstaff on June 27th and 28th.  Next year's choices are Carlyle Floyd's Susannah, Rossini's L'Italiana in Algeri, a double bill of Sullivan's comedy The Zoo (WHAT?  NO GILBERT) with Ravel's L'Enfant et les Sortilèges and finally Strauss' Ariadne auf Naxos.  Get on board soon to avoid missing out.

© meche kroop