LONDON FINALS

 Finalists at the George and Nora London Foundation Competition

(photo by Joan Greenberg)

For as long as we can remember we have considered this competition a highlight of the musical season. Not only are the finalists some of the very best young singers in the country, but we in the audience get to share the excitement with them after their respective performances whilst the judges perform the nigh impossible task of deliberating. Unlike some other competitions which we will not mention, the group is not divided cruelly in half. Of course five of them will get cash awards that are significantly higher than the other seven but no one is left feeling like a loser.

As usual, we would like to address the smooth running of the competition, held at The Morgan Library. There was no excessive fanfare nor lengthy speeches. The overall quality of the performances indicates marvelous futures for these young artists. Please do not count on us to tell you how much each singer won or who was "the best". That information is probably available on the Foundation's website, if you care about such things. The judges are all luminaries in the opera world and must have had a most difficult time.

 Gracing the piano bench was a dear friend of ours, the renowned Lachlan Glen who managed to switch gears from one singer to the next and to give each one the necessary support. That aspect alone lent a very special quality to the fast moving display of artistry.

Readers will recall that we lack affection for contemporary opera and for the English language. We all have our preferences and it is most rewarding when we hear a performance of something we did not expect to like and find ourself relating to it and wanting to learn more about the opera. Since all of the voices were beyond excellent, we would like to focus on audience engagement and dramatic presentation.

Take, for example, the riveting performance of "A Dream Wasted" from an opera completely unknown to us--Highway One, USA by W.G. Still, performed by bass-baritone Joseph Parrish. Mr. Parrish has been on our radar for quite some time; no surprise that he was selected by Young Concert Artists after making quite a splash as a Santa Fe Opera Apprentice. His performance was so intense and seemed spontaneous; we got a real sense of the character and intend to learn something about the opera. We might add that alone among the singers who sang in English, Mr. Parrish made every word comprehensible.

Another dramatically riveting performance was that of another bass-baritone Evan Lazdowski, well remembered from his time at Juilliard, who performed Bottom's aria from Britten's A Midsummer Night's Dream. This was a highly physical performance that showed off his dramatic skills. There was Bottom crawling around the stage and hiding under the piano. Even if you didn't know the Shakespearean plot, you would have marveled at the convincing nature of the characterization and the humor. 

And whilst we are talking about convincing male performances, bass-baritone Sam Dhobhany made a fine Figaro in "Non più andrai" from Mozart's  Le nozze di Figaro. Similarly, baritone Korin Thomas-Smith enacted a perfectly arrogant and perfectly clueless Count Almaviva in "Hai già vinta la causa". We could have cast Mozart's masterpiece right then and there.

Bass Alan Williams utilized his splendid instrument to limn the nastiness of Claggart in Britten's Billy Budd. Tenor Alec Carlson did equal justice to Peter Grimes' mad scene from the eponymous Britten opera. Both men awakened us to Britten's skill at writing music specific to unlovable characters.

Let us move on to the women on the program. We were particularly excited to learn that soprano Shelen Hughes would perform an aria from the very same role that we heard her sing at Manhattan School of Music some years ago. Rimsky-Korsakov's Snegurechka (The Snow Maiden) is so rarely performed and it is truly a gem of a fairy tale, allowing the singer an opportunity to reveal a variety of emotions. We loved it back then and we loved it even more last night as Ms. Hughes has grown in her artistry. We might add that her Russian sounded fine to our ear, although it is not one of our languages.

Soprano, Magdalena Kuźma, is another singer we have admired and she also sang in a language that is not one of ours. We have always enjoyed the music of Moniuszko and his opera Halka is one we yearn to see, especially after hearing Ms. Kuźma's portrayal of the romantically betrayed village girl.

Happily French is a language we do understand and especially enjoyed mezzo-soprano Ruby Dibble's portrayal of Carmen, the heroine of Bizet's beloved opera. Carmen is anything but a stock character and we love to hear a singer who can make the role her own. Ms. Dibble's Carmen was a clever one, and a woman of mercurial emotions, confident of her power over men.

Mozart seemed to be a favored choice among the women as well as the men. Soprano Dalia Medovnikov as Pamina in Die Zauberflöte presented just the type of heroine we want to see, full of innocence but fearful of the loss of her love. 

Soprano Emily Damasco brought some fine singing to her portrayal of Fiordiligi in Mozart's Cosi fan tutte. In "Come scoglio", Fiordiligi emphatically declares her steadfast faithfulness but the audience can see that she will soon lose her resolve.

Closing the program was a puzzling selection from Jonathan Dove's children's opera The Enchanted Pig. Soprano Rachel Kobernick threw herself into the role of Adelaide but, truth to tell, we had to look up the opera to get an idea what it was about. Apparently Adelaide is a witch's daughter who wants to marry a King who is destined for someone else. Had Ms. Kobernick's English diction been clearer we might have gotten some inkling of the story but we did not. She sang with a lot of "personality" but our ignorance of the situation and inability to understand the text added up to disappointment.

On the whole, we were sufficiently impressed by the dozen finalists (selected from 175 applicants), that we considered the afternoon a complete success. We don't believe in heaven, but if we did, we would think of George and Nora London looking down with pride and pleasure.

© meche kroop

A TALE OF TWO FIGAROS

Curtain Call for Mercadante's I due Figaro at Manhattan School of Music

We entered the theater at Manhattan School of Music rain soaked, windblown, and grumpy.  Three hours later we walked out smiling from ear to ear and barely aware of the weather. Opera will do that to you! Part of our glee was the result of seeing so much talent onstage at one time; part of it was because the opera itself is so very very delightful.

Most opera lovers are aware of the Beaumarchais plays known as the Figaro trilogy. Mozart selected the second play for his beloved Le Nozze di Figaro with libretto by Lorenzo da Ponte, which premiered in 1786. In 1816, Rossini chose the first part for his own enduring opera buffa, Il barbiere di Siviglia, with libretto by Cesare Sterbini. The third part La mère coupable was set by Darius Milhaud in 1966. Not beloved. Not enduring.

So from what source did Felice Romani get his libretto for this effervescent work that was set by Saverio Mercadante? It was based on a French play by Richard-Martelly who had his own take on the interactions of the very same characters--Count Almaviva, his wife the Countess (formerly Rosina), the wily Figaro, and the lovelorn Cherubino. Apparently these characters were so beloved and so reminiscent of stock characters drawn from commedia dell'arte that writers just couldn't abandon them. They have delighted us ever since; marital disappointment and infidelity have not gone out of style, nor have young lovers facing obstacles!

So how did Mercadante's opera get lost until 2011 when Ricardo Muti rediscovered it? Jane Vial Jaffe's program notes indicate a number of artistic and political issues that delayed its premiere from 1826 until 1835--"its inherent social criticisms and immorality offended both the court and the church". By 1835 when censorship relaxed, opera buffa had sadly gone out of style.

Fortunately, Dona D. Vaughn, Artistic Director of the Manhattan School of Music Opera Theater, recognized the potential of the work--fortunate for the talented group of singers who appeared to be having the time of their lives and also for the audience who seemed to be enjoying themselves beyond the usual pleasure of opera going.

Credit must be shared by Ms. Vaughn, the gifted cast, the gorgeous costumes of Tracy Dorman, the clever set of Shoko Kambara, and the fine playing of the MSM Opera Orchestra under the baton of Stefano Sarzani who also provided the continuo.

The story made little sense on the page but Ms. Vaughn's direction made everything clear. The Count and Countess have a marriageable daughter named Inez who is in love with Cherubino. Figaro, far less charming than he was in the earlier iterations, is plotting to get her married off to one Don Alvaro, with whom he plans on splitting the dowry. Susanna, no longer sweet and innocent, is just as manipulative as her husband and schemes with the Countess and Inez to foil Figaro's plan.

The casting was absolutely perfect, both vocally and dramatically. Yu Ding has enviable stage presence and a robust but sweet-toned tenor. With Italianate phrasing he created the character of the Count, one which seemed rather consistent with the Count in the Mozart opera. He is often clueless and easily swayed by Figaro and Susanna who know just how to manipulate him. Nonetheless, Mr. Ding's Count seemed to be a more forgiving man, having acquired some better behavior at the conclusion of Mozart's opera.

Mezzo-soprano Xiao Xiao created a lovely dignified Countess who, in spite of a gorgeous aria expressing her disappointment in love, still wants her daughter to have the same opportunity to marry for love. Her voice is warm and affecting and served to illuminate the character.

As Inez, Jiyu Kim utilized her high soprano to excel in the high-flying coloratura passages. Her petite frame served well in her portrayal of a young innocent girl.

Mezzo-soprano Alanna Fraize was a marvel in the breeches role of Cherubino. She made ample use of facial expression and gesture to create a believable man in the throes of love, desperate to achieve his love object. There was plenty of fioritura for her to play with and we enjoyed every note.

It was difficult to believe that bass-baritone Evan Lazdowski is still an undergraduate. His performance as the conniving and greedy Figaro was spot on with effective vocalism and character creation.

Susanna was effectively portrayed by soprano Blair Cagney who has a nice full well-centered tone, superb coloratura, and a way of conveying wiliness without malice.

New to this part of the trilogy is the character of Plagio, wondrously created by Daniel Choi. Plagio is a young playwright and serves as a "meta" device. Figaro has promised to help him write a play and his play is the story of the opera. Mr. Choi made an adorable wide-eyed presence onstage, hiding here and there, observing the ongoing action, just as we were. The characters in the opera wrote his play for him!

Tenor Sehyun Lee took the role of Don Alvaro, the suitor whom Figaro was promoting. His unmasking at the end was the deus ex machina.

The story is filled with tropes of the era. Disguises, people hiding and spying on each other, false identities, and plots to deceive. Certain situations provide resonance with situations in the other two parts of the trilogy, i.e. Cherubino hiding in the closet. We still find them funny!

The music is filled with lavish melodies and also musical devices reminiscent of other bel canto operas. Mercadante utilizes Rossinian ensembles in which each character goes crazy but with his/her own vocal line; often he doesn't even wait for the end of the act.

We have been trying to select our favorite musical moments and it sure is difficult. The first act trio of Inez, the Countess, and Susana was delightful and the Countess' aria about love was moving. The duet between Susanna and Figaro in Act II utilized a Spanish rhythm that reminded us that we are in Seville.

Further evidence of location could be found in Shoko Kambara's clever set design which was like a cartoon. There were two orange trees flanking the door to the palacio. The courtyard had a pig roasting on a spit and picnic tables set up for the betrothal celebration. For the garden scene, the door was lifted and greenery lowered. For indoor scenes, closets were lowered for the characters to hide in.

Ms. Dorman's gorgeous costumes also bordered on cartoonish, in a very beautiful way. Peasants were dressed in becoming pastel dresses, the accurate length for that period. The aristocrats were resplendent and extremely fancy. Even the wigs by Bobbie Zlotnik were perfect and just a bit exaggerated for effect. K. Meira Goldberg's choreography was delightful.

We cannot stress how thrilled we were with the performances and their ensemble nature. Chorus Master Jackson McKinnon elicited impressive performances from his 13-member chorus of peasants.

We have rarely enjoyed a comedy this heartily and hope you, dear reader, will take advantage of the two additional performances. Even if you see a different cast you will definitely be pleased. We know the other cast and they are just as talented.

© meche kroop

THE FINEST PEARL

Evan Lazdowski, Shantal Martin, Juan Lázaro, Thomas Muraco, Sungah Baek, Laureano Quant, and Esteban Zuniga .   


Conductor/collaborative pianist/coach/educator Thomas Muraco has been on the faculty of Manhattan School of Music for a quarter of a century and we have lost count of how many operas he has conducted for the MSM Opera Repertoire Ensemble; but we haven't forgotten how much we have enjoyed them. His attention to musical detail is highly impressive and his hands are highly expressive.  No baton needed!

Last night he conducted Bizet's 1863 opera Les Pêcheurs de Perles (composed when Bizet was but 25 years old) in a reduction of the score for two pianos, four hands devised by Sungah Baek. Those twenty fingers, belonging to Ms. Baek and Juan José Lázaro, simply flew over the keys and brought out voices we had totally overlooked in orchestral performances. Sitting "up close and personal", certain aspects of the superficially silly libretto by Eugène Cormon and Michel Carré began to make psychological sense, thanks to some astute direction by A. Scott Parry.

The absence of sets and costumes (save for Léïla's white dress and exotic veiled headpiece) allowed us to focus on the music. Anyone who has attended voice competitions would be familiar with "Au fond du temple saint", the deliciously harmonic duet sung by the tenor and the baritone early in Act I. The tenor's soliloquy "Je crois entendre encore" is often heard as well.

However, the score offers several more treats worthy of audition or competition pieces, highlighting the singer's expressiveness. We were highly impressed with the authoritative performance of baritone Laureano Quant who created the character of a tragic hero undone by jealousy but redeemed through generosity. At the conclusion of the opera, Zuniga sacrifices his own life to allow his old friend Nadir to escape the funeral pyre, along with the temple priestess whom they both love.

Mr. Quant's rich round tone filled out his song of remorse "L'orage est calmé" which paralleled the subsiding of the storm endured by the villagers-- who believe that the betrayal of Léïla is responsible. He refuses Léïla's request for mercy in "Je suis jaloux" but changes his mind when he sees the deus ex machina necklace that he had bestowed upon her years earlier when she saved his life. All these changes of emotion were reflected in Mr. Quant's phrasing and coloration. It was a masterful and memorable performance.

As Léïla, soprano Shantal Martin was convincing in her acting and excellent in her command of the vocal line. Her conflict was between spiritual duties that she had promised to execute faithfully and her lust/love rekindled by Nadir from a prior period in their lives. Ms. Martin conveyed Léïla's weakness of character without sacrificing vocal strength. She was particularly fine in the melismatic passages that amounted to a gorgeous vocalise. Her voice soared in the upper register making us almost forget that she's a "bad girl".

Nadir is a "bad boy" as well. He has betrayed his friend Zurga in an earlier period, after the two of them had promised to preserve their friendship by giving up their love for the tempting Léïla. As portrayed by tenor Esteban Zuniga, he appears sly, shifty, sneaky, and aware of his guilt. As a matter of fact (or opinion) we thought Mr. Zuniga overacted a bit with an excess of mugging. Sometimes less is more! Mr. Zuniga's light tenor seemed suitable for bel canto opera. He harmonized beautifully with Ms. Martin in their Act II duet, and also in Act III as they faced death.

Evan Lazdowski used his fine bass instrument successfully in the role of the High Priest Nourabad. His character is dour, suspicious, stern and forbidding as one might expect. The unfamiliar ending (from an 1886 revival) has him stabbing Zurga to death. Mr. Quant succeeded in making Zurga a sympathetic character but he did set fire to his village so we guess he deserved his fate.

Particularly noteworthy was the excellent French diction, coached by Elsa Quéron. We did not even need the titles; every word was clear.

Also noteworthy was the performance of the chorus. They sang well and added the necessary backdrop for the drama.

There is a matinée performance at 2:30 on Sunday and we urge you to attend. Although the cast will be different, the music will be the same. We found a great deal of aural enchantment in the repetitive Oriental motifs.

(c) meche kroop