BATTLE OF THE SEXES, BATTLE OF THE FAITHS

Song Hee Lee, Eric van Heyningen, Jessica Niles, Karin Osbeck, Hyoyoung Kim, and Maggie Renée Valdman

By a strange coincidence, just four days ago, we reviewed a presentation of Händel's earliest experiments in writing for the voice. How rapidly he honed his skills! No sooner had the tuneful overture to Rinaldo ended last night at Alice Tully Hall, than we became aware of how psychologically astute was his writing for the voice!

By the time he was in his mid-twenties, Händel was much in demand for the London stage and gave them Rinaldo, the first Italian opera created for that city. The reception was warm, just as the reception was last night when post-graduate students at Juilliard performed it alongside Juilliard 415.

Let it be said right away that the minimally staged production was magnificently sung and acted and that Juilliard's period instrument ensemble responded in a lively fashion to Maestro Nicholas McGegan's enthusiastic conducting--all hands, no baton--from the harpsichord.

There was a second harpsichord, played in dazzling fashion by Jacob Dassa. His extended solo absolutely changed our mind about the harpsichord, an instrument that we generally ignore but will no longer. It was one of the high points of the evening, occurring during Armida's Act II vengeance aria and, as cleverly directed by Ophelie Wolf, had the evil sorceress (singular soprano Jessica Niles) bursting with impatience as Mr. Dassa piled cadenza upon cadenza. She even lit up a cigarette (mock) which she shared with the musicians of Juilliard 415 in an hilarious show of boredom.

Special notice must be given to the three musicians playing recorder and oboe--Kelsey Burnham, Matthew Hudgens and Emily Ostrom. The soprano recorder reproduced bird calls to accompany Almirena as she languished in the sorceress' garden lamenting her lost love in "Lascia ch'io pianga", so effectively rendered by soprano Hyoyoung Kim with a purity of tone which soared up into the highest register.

Based upon Torquato Tasso's epic poem La Gerusalemme liberata (as so many operas were) Giacomo Rossi's libretto gave us a fictional account of the First Crusade, an event to which is attributed much contemporary Muslim hostility toward Christianity. Christian knight Rinaldo loves Almirena, daughter of his general Goffredo and will be permitted to wed her once the Saracens have been conquered.

Argante, leader of the Saracens, needs help from his lover, the sorceress Armida. She captures Almirena and spirits her away. Then she lures Rinaldo to her lair, using Almirena as bait. She disguises herself as Almirena and fools Rinaldo briefly. But Argante also falls in love with Almirena who just wants her freedom.

It takes a lot of magical intervention to straighten things out and we can only imagine what kind of stagecraft was devised for the London production. As we understand, staging was quite inventive in early 18th c. London!

Each and every role was sung in fine Baroque style and was accompanied by effective acting. All the world loves a bad girl and Miss Niles' Armida was the baddest of the bad, using every fiber of her being to illustrate what Händel's music is telling us. We have reviewed Ms. Niles on a number of prior occasions but this character unleashed something highly exciting to which the audience responded with volleys of applause. The illusion of sorcery was magnified by her costume and makeup.

Exactly the opposite in appearance and demeanor was the innocent Almirena portrayed by the superb soprano Hyoyoung Kim who was new to us. Dressed in a sweet white dress, she was the image of innocence but used her soprano strength to rebuff the importuning of Argante. In her featured aria "Lascia ch'io pianga" her trills matched the warbling birds given voice by the recorder. The violins wept along with her.

The role of Argante, usually given to a bass, was portrayed effectively by baritone Erik van Heyningen who negotiated well the lower end of the register and was successful at lightening his voice for the romantic scenes whilst letting loose with more powerful vocalism when he was in warrior mode.

Mezzo-soprano Maggie Renée Valdman made a strong Goffredo, evincing a richly textured sound and masculine posture. Phrasing and breath control, as well as dynamics, made for a fine performance.

Mezzo-soprano Karin Osbeck invested the role of Rinaldo with sympathy and performed a lovely duet with Almirena as well as the mournful aria "Cara sposa" when she is spirited away.

We were delighted to see undergraduate Song Hee Lee in a small role as the woman who lures Rinaldo away. We noticed her talent a year ago in a freshman recital and noted her crystalline soprano which was put to good use last night. She created a seductive character that the audience enjoyed.

Act III relied heavily on the music since much of the staged action had to be eliminated. But we certainly did enjoy the reconciliation duet between Armida and Argante. The ending of the opera must have been gratifying for 18th c. audiences because Jerusalem gets "liberated" and the Saracens give up their evil ways and convert to Christianity. Wouldn't it be grand if the contemporary problems in Jerusalem could be so easily resolved!

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HANDEL'S RINALDO AT CARNEGIE HALL

James Hall, Luca Pisaroni, Jane Archibald, Harry Bicket, Iestyn Davies, Joélle Harvey, Jakub Józef Orlinski, and Sasha Cooke

What an incomparable Sunday afternoon, spent at Carnegie Hall reveling in the sound of seven glorious voices giving Händel his due--and then some. Only The English Concert, conducted by their Artistic Director, could have managed such a lucid and lively performance, holding our attention continually for over three hours.

The plot of Rinaldo is based loosely on Torquato Tasso's epic poem Gerusalemme Liberata, the source of plots for many other operas.  It is set during the First Crusades and the Christians are portrayed as the good guys and the Saracens as the bad guys. The happy ending involves the Saracens converting to Christianity. There are those who might find the story politically incorrect but we are not of that ilk. 

This was the first opera in Italian Händel wrote for the British stage in 1711, when the composer was only 26 years old.  Much of its music was borrowed from operas Handel wrote in Italy and he revised it periodically to accommodate voices of different fachs. After an initial success, it lay dormant for two centuries. We are so glad it was resurrected, especially since Planet Opera is well populated these days with brilliant countertenors. Thankfully, the era of castrati is long gone!

Goffredo and his brother Eustazio (a role often omitted) count on their greatest warrior Rinaldo to defeat the Saracens.  Rinaldo is betrothed to Goffredo's daughter Almirena. The leader of the Saracens is Argante who is under the power of the sorceress Armida. Remember her from Handel's opera Armida? In this opera, she kidnaps Almirena and falls in love with Rinaldo whilst Argante falls in love with Almirena.  It takes a Christian sorcerer to counteract Armida's sorcery.

The plot is just an excuse for a compilation and recycling of some of Händel's most glorious music from his Italian period; listeners are sure to recognize much of it.  From our point of view, we were must taken by Almirena's aria of grief and longing--"Lascia ch'io pianga" and its counterpart sung by Rinaldo --"Cara sposa". 

Other moments that grabbed our ear was "Augelletti, che cantate" due to the brilliant work of the recorder;  the sopranino created some very realistic bird song. Tom Foster's harpsichord solo at the end of Act II dazzled us with its virtuosity as Armida planned her battle with the Christians. The three (and later four) trumpet players did a swell job of announcing battles. These trumpets had no keys and we were amazed by their tonality.

As we come to discuss the singers, full disclosure requires that we repeat what we often say; when we have written about a singer for a few years we feel a heavier investment in their success and a greater pleasure in their achievements.  We are not saying, however, that we are biased.  Of course not!

We first heard counter-tenor Jakub Józef Orlinski in a Polish church in Greenpoint when Il Giardino d'Amore presented Carnevale di Venezia as part of their tour. We went to hear our friend, soprano Amaya Arberas who, coincidentally, sang "Lascia ch'io pianga". We heard Mr. Orlinski and went bananas. What a thrill to find out that he was getting his Graduate Diploma from Juilliard, where we would go on to review his work at least a half a dozen times. We heard him in recital and in Baroque opera, and most memorably, singing  "Duetto buffo di due gatti", which may or may not have been written by Rossini. Whoever wrote it, it was a performance we will never forget.

We have heard him sing Polish songs in recital at the Kosciuszko Foundation, as well as Schubert lieder. We watched him break hearts in Jonathan Dove's Flight. He has never turned in a performance less than perfect and deserves every award he has won. In our opinion, he stole the show yesterday with his fine technique and expressiveness. There was strength down to the lowest end of the register. We are so glad that the part of Eustazio (Goffredo's brother) was not eliminated!

We were very happy with all the singing but our focus on Mr. Orlinski has been explained.  As Rinaldo, counter-tenor Iestyn Davis made a fine hero, one who was more lover than warrior. His timbre is appealing and our only quibble was a bit of weakness at the bottom of the register.

Mezzo-soprano Sasha Cooke en travesti handled the role of Goffredo with fine style and vocal technique. The glamorous soprano Jane Archibald created a powerful Armida, especially in "Vo' far guerra". We enjoyed her love/hate duet with Argante in Act III.

Argante was sung by bass-baritone Luca Pisaroni who always gives a great performance and managed to convey the ambivalence of his leadership and his importuning of Almirena--both successfully.

Lovely soprano Joélle Harvey made a wonderfully complex Almirena.  Just as Rinaldo's heroism is invaded by his romantic nature, her romantic nature is affected by her lust for winning battles.

In a bit of luxury casting, the excellent counter-tenor James Hall took on several of the smaller roles. We'd like to hear more of him.

Mr. Bicket conducted from the harpsichord with Mr. Foster at a second harpsichord. Outstanding work by the winds was laid over a warm carpet of strings. The presence of the grand theorbo is always exciting. a:What a terrific sound!

Concert versions of operas are rarely this compelling.  We can now consider ourself a fan of The English Concert and eagerly await their next visit.

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MORE POLISH SONGS PLEASE!

Michal Biel and Jakub Jozef Orlinski

The Polish songs we heard at Michal Biel's recital at Juilliard on Thursday were so outstandingly lovely that we wanted more. The review for that recital is just a few reviews behind this one but there is more to say about the songs. The performance took place in the gorgeous townhouse of the Kosciuszko Foundation (about which Development Officer Ewa Zadworna had some interesting anecdotes to share). Counter-tenor Jakub Jozef Orlinski shared descriptions about each of the Kurpian Songs of Karol Szymanowski. He is the first counter-tenor to perform them.

We were so frustrated searching for translations online but were told by Mr. O. that the dialect of these folk songs could not be accurately translated.  So...we just let the sounds engulf us and tease our ears. The first song, which we had described as sad, turned out to be a lament for lost love; the one we called lively was about a bird escaping a storm; the one we noted as somber was about a woman being married off to a man she doesn't love; the one we described as anxious was about a woman being seduced by a man on horseback.  So, it appears as if Mr. O. was preternaturally successful at conveying the meaning!

On our wish list is hearing this divine duo perform all twelve of them.

The Baird songs also stood up to a second hearing. We just learned they were written for the basso fach but what difference does that make when they sound so good in the counter-tenor range. Actually "Slodka milosci" utilized the bottom of Mr. O's register which is very mellow and appealing.

Another Polish offering was Pawel Lukaszewski's 1968 "Jesien" about autumn, decay, death, and rebirth. The prelude involved improvisation  by Mr. Biel. As one would expect, Mr. O. is so comfortable in his native language that he seems to be tasting the words as he sings them. He is a singer of great intelligence and musicality. Among the many honors and awards he has accrued was the 2015 Marcella Sembrich competition and the Met National Council Award.

The program also included works with which we are far more familiar. There were some sunny songs by the beloved Reynaldo Hahn who knew how to write a gorgeous melody for the voice. Mr. O. sang them in fine French. "A Chloris" has a baroque introduction on the piano which Mr. Biel enjoyed, and some interesting variations in dynamics of which Mr. O. made the most.

"L'heure exquise" with its gorgeous arpeggios was perhaps our favorite, but we were also taken with the lively "Fetes Galantes". Upward swoops (portamenti) were well handled.

The Schubert songs were not so sunny but impressed us because Mr. O. sang them so completely "on the breath" with complete connection. Consonants were crisply enunciated but no vowel got cheated. "Die Stadt" from Schwanengesang struck us as very ominous, enhanced by a slight change in vibrato.

No program would be complete without some Handel and "Agitato da fiere tempeste" from Riccardo I, Re d'Inghilterra offered all the coloratura fireworks that we want from Baroque opera and Mr. O. handled them with panache.

Two encores were called for: Purcell's "Strike the Viol" and Vivaldi's "Vedro con mio diletto" which decorates the romantic sentiment with a lovely trill.

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THE THING ABOUT YING

Brian Zeger and Ying Fang at Alice Tully Hall

Ying Fang's Neighborhood Concert on April 16th (archived here) was one of the highlights of the season. We were overjoyed to learn that she would be repeating the same program last night at Alice Tully Hall. The Alice Tully Vocal Arts Recital is given to promote exceptionally talented Juilliard singers on the threshold of a professional career. And Ms. Fang seems to have crossed that threshold and has had an enviable season of music making with more coming up.

 But we felt that we already said everything there was to say about the program and used every encomium at our disposal to describe Ms. Fang's overwhelming artistry. What more could we say?

That everything she sang was well worth a second hearing? That we would gladly hear her again tomorrow? That her opening song "Endless Pleasure" from Händel's Semele gave us endless pleasure?

We could add that she provided her own translations for three of the four lovely Chinese songs on the program sung in mellifluous Mandarin and that a second hearing of these songs convinced us that their quality merited their inclusion in the program.

Brian Zeger, Artistic Director of the Juilliard Vocal Arts Department and Executive Director of the Metropolitan Opera Lindemann Young Artist Development Program, last night wore his collaborative pianist hat. He has played for all the greats of the opera world and we are happy to see Ms. Fang included in that illustrious company, a position she well deserves.

We love the softness of Mr. Zeger's hands and the way he always supported Ms. Fang. We noticed the unusual piano part of Bizet's "Oeuvre ton coeur" which has a martial feel but is in 3/4 time. We noticed how spontaneous was the appearance of Ms. Fang's gestures and facial expressions, in spite of the fact that everything must have been rehearsed down to the last flick of a finger. Artful but artless.

The audience would not be silenced, even after the encore. There were torrents of applause and a lengthy standing ovation afrer the moving "Shepherd's Song" from Wagner's Tannhäuser, which Ms. Fang has performed onstage at the Met. There had to be a second encore--and there was. Ms. Fang sang an aria from Händel's first oratorio from the 1707 Il Trionfo del Tempo e del Disnganno, a work she will sing at the Festival d'Aix-en-Provence, in the middle of a very busy summer.

Aren't we lucky to have had her here in New York?

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CARNEVALE DI VENEZIA

Jakub Jozef Orlinski, Amaya Arberas and Il Giardino d'Amore

Yesterday we were transported to 17th and 18th c. Venice when we trekked out to the farthest reaches of Brooklyn to hear our favorite Spanish soprano singing arias of Händel and Vivaldi.  Our pleasure was magnified by also hearing some exciting arias performed by countertenor Jakub Jozef Orlinski and by the marvelous accompaniment provided by a stellar baroque chamber orchestra playing on original instruments or copies thereof.  The founder and leader of Il Giardino d'Amore is one Stefan Plewniak who speaks eloquently through his violin.

The always fascinating theorbo was played by Etienne Galletier while the other string instruments were played by Monika Boroni, Katarzyna Kalinowska, Kinga Augustyn, Magdalena Chmielowiec, and Katarzyna Cichon. The group opened the concert with Vivaldi's Autumn and closed with Vivaldi's Summer, perhaps not a normal progression of seasons but beautifully played.

In between we thrilled to some very fine baroque singing in which both singers distinguished themselves with perfectly precise handling of the fioritura. Our favorite piece by Ms. Arberas was the well known aria "Lascia ch'io pianga" from Händel's Rinaldo, made even more famous from it's use in the film Farinelli. It's a real tear-jerker and Ms. Arberas brought out every subtle nuance. 

We also enjoyed "Ombre vane ingiusti orrori" from Vivaldi's Griselda in which the eponymous Griselda bewails her fate. We remember this opera well from Santa Fe when Meredith Arwady sang the role of the unjustly rejected Griselda.

Händel's "Agitato da fiere tempeste" from Riccardo Primo Re d'Inghilterra was given a fine performance by Mr. Orlinski and the orchestra created a fine storm of wind and water. We particularly enjoyed his interpretation of Handel's "A dispetto d'un volto ingrato" from Tamerlano which called for a variety of dynamics and tempi.

This superb group of young musicians is based in Vienna but is presently on tour and how fortunate for us New Yorkers that they made Brooklyn one of their stops.

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ANTHONY AND BRYAN WOW THE GLITTERATI

Bryan Wagorn and Anthony Roth Costanzo

We have been huge fans of countertenor Anthony Roth Costanzo and pianist Bryan Wagorn for quite some time but the thrill is always new when either performs. To see and hear them together was doubly thrilling.  To see and hear them at an intimate recital--in a glamorous downtown penthouse--was triply thrilling.

The occasion was Classical Action's 2015 Maestro Appreciation Concert, the "Maestros" being the generous supporters of Classical Action: Performing Arts Against AIDS, a program of Broadway Cares/Equity Fights AIDS. Classical Action draws upon the talents, resources and generosity of the classical, opera and jazz communities to raise money for those battling HIV/AIDS and other critical illnesses. For over 20 years, Classical Action has helped to fund over 450 AIDS and family service organizations in the United States.

Mr. Costanzo is frequently seen onstage at the Metropolitan Opera among other venues, and has garnered numerous awards including Placido Domingo's Operalia competition and the Grand Finals winner of the Metropolitan Opera National Council Auditions. We last saw him in a glorious recital at the Morgan Library with Nadine Sierra with Bryan Wagorn at the piano.

Mr. Wagorn also has an illustrious career as Assistant Conductor at the Met and as collaborative pianist with some of the greatest voices onstage. Solo performances and coaching duties round out his impressive bio.

Just see what magic these two artists created last night! Mr. Costanzo engaged the audience even before he began to sing. He shared some interesting tidbits about the castrati of the 17th c.  He shared how he came to accept his fach. He told us about Franz Liszt's wild side and his spiritual side

And then he began to sing, lending his pure and penetrating tone to five songs by Liszt. It would be difficult to say which of the two artists was more expressive. Mr. Costanzo can really float his top notes, become impressively expansive at the song's climax, and then pull back to the most delicate pianissimo.

Our favorite of this group was a love song "In Liebeslust, S. 318". No one wrote for the piano like Liszt and Mr. Wagorn's fingers literally flew over the keys.

Although the set of Liszt songs was very finely done, we are partial to the music best suited, in our opinion, to Mr. Costanzo's voice. Of course we mean that exemplar of Baroque music-- Georg Friedrich Händel. His Giulio Cesare is replete with thrilling arias and Mr. Costanzo sang the eponymous hero's aria from Act III when he is wandering in the desert--"Aure, deh per pietà".

Next, he sang Bertarido's aria from Act III of Rodelinda in which he spares the life of Grimoaldo who had usurped his throne. "Vivi, Tiranno" is filled with challenging vocal fireworks that Mr. Costanzo makes seem so easy. Even more arresting was the aria "Pena tiranna" from the less well-known opera Amadigi di Gaula. The embellishments were exquisitely handled as was the pianissimo passages. Mr. Wagorn's piano was especially powerful.

In the final set comprising Gershwin songs, Mr. Wagorn also shone. The two artists really got into "I Got Rhythm", living up to the title of the song. "Embraceable You" was suitably romantic and "Sam and Delilah" delightfully funny. But it was the final offering "Summertime" that blew us away. Mr. Costanzo told the audience that the song was inappropriate for a countertenor and inappropriate for a man. Well, who could say that when it sounded so right?

As encore, we heard Benjamin Britten's setting of an English folk song "The Foggy Foggy Dew" in which the poignant aspects were given as much attention as the lighthearted ones. Had we programmed the recital we would have put "I Got Rhythm" as the encore because of the line "Who Could Ask for Anything More" which is how we felt at the conclusion.

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MARVELOUS MADISON MARIE MCINTOSH

Keith Chambers, Madison Marie McIntosh, and Alexander Charles Boyd

How do you say Marvelous Madison Marie McIntosh?  We say....MMMM!

Planet Opera is replete with light coloratura sopranos whom we enjoy but we would be hard pressed to tell one from another with our eyes closed.  Not so with Ms. McIntosh whose sound is uniquely hers, both distinctive and special. Last night's program went a long way in showing off her rare talent.

Her voice is as beautiful as her appearance with a distinct vibrato and bright shiny timbre. The first half of the program comprised Rossini and nothing but Rossini. There was a selection from his Péchés de vieillesse--"La fioraia fiorentina" in which the divine Ms. M allowed her vibrant personality to shine through as a flower seller wanting to buy bread for her poor mother. In "L'invito" from Soirées musicales, there was a nice contrast of color in the middle section.

We also heard selections from Rossini's operas. Rosina in Il barbiere di Siviglia is generally sung by a mezzo-soprano but this is not the first time we have heard the role sung by a soprano. "Una voce poco fa" is fertile material for fioritura to express character and Ms. M. did not disappoint. We heard some impressively elaborate embellishments and dazzling cadenze.

The fine baritone Alexander Charles Boyd served as her Figaro for the duet "Dunque io son" in which Rosina's cleverness and determination exceeded his expectations. Their respective vocal lines blended beautifully.

Rossini's final opera in Italian, the 1823 Semiramide, was the source for another aria and another duet. "Bel raggio lusinghier" was filled with joy and the duet (again with Mr. Boyd) "Se la vita ancor t'è cara" was filled with anger and spite. 

Vocal fireworks were present not only in the Rossini of the bel canto period but also in the baroque compositions of Händel. "I can conjure you fire from the heavens" was repurposed for The Enchanted Island, a pastiche produced at The Metropolitan Opera in 2011,and quite successfully so. Ariel sings this song to Prospero in Act I. Ms. M. filled the aria with her own fire and the only thing missing was clarity of diction. This is not Ms. M's fault. English just doesn't sing well, especially in the upper registers. We had no problem understanding her Italian, even at the very upper reaches.

From Semele, she sang "O sleep, why dost thou leave me?". This aria gave her the opportunity to sing a long melismatic phrase on "ah". It was gorgeous. She even embellished her embellishments.

"Hello! Oh, Margaret, it's you" from Gian Carlo Menotti's The Telephone gave her a chance to show her acting skills and to inject another note of humor into the program.

The revelation of the evening occurred when composer Theodore Christman took over the piano duties from the excellent Keith Chambers and accompanied Ms. M. in his own song cycle, a setting of poetry by Nicola Rossi Lemeni. Although reading the poetry later did not do much for us, the setting illuminated the words and the mood of the text.

Readers may have noticed how dissatisfied we have been with contemporary song and we were over the moon to find a contemporary composer who knows how to write for the voice and can write melodic phrases. Mr. Christman here favored the rhythm of the barcarolle but his "La morte di Don Giovanni" was a dirge and "Gioia conclusa" a waltz. The composition surely captured the Italian flavor and color.

Ms. M. related how she heard Mr. Christman play and wanted him to write for her. She herself chose the poetry. This was the proverbial match made in heaven. We would dearly love to hear the songs again, particularly if Ms. M. could sing them "off the book", thereby communicating with the audience in the same way she did for the remainder of the program.

Mr. Chambers not only satisfied as accompanist but had a chance to shine as a soloist in Amy Beach's Ballade, op.6. a most accessible and lovely piece. How rare it was for a woman to succeed in the music world of the Gay 90's.

As encore, Ms. M. performed Poulenc's "Air vif" from his Airs chantées. We are pleased to note that her French is just as fine as her Italian. The evening was a most satisfying one! We are looking to the future and wondering whether Ms. M. has considered Queen of the Night!

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GETTING A HANDLE ON HANDEL

Brennan Hall, Anya Matanovič, Kiera Duffy, and Hadleigh Adams

If you attended Händel's Orlando last night at the WhiteboxLab/Sound Lounge and closed your eyes you would have heard five truly magnificent voices and a wonderful chamber orchestra making marvelous music. But then you might have missed the point.

Director R.B. Schlather has taken on an ambitious project--presenting three Händel operas adapted from Ludovico Ariosto's epic Orlando Furioso. We thoroughly enjoyed the first entry Alcina (review available from our archives by using the search bar) and were eager for his Orlando, composed by Händel in 1733. This groundbreaking opera was not a popular success at that time and lay dormant for over two centuries.  It's first American appearance was at Carnegie Hall in 1971.

Popular success arrived this week at the WhiteboxLab/Sound Lounge. Mr. Schlather's idea was to bring opera downtown and to highlight the actual process of creation of the opera as well as the final product. Rehearsals were live-streamed and also open to the public. Sadly, our schedule permitted only attendance for the live performance.

The playing area ran the length of the long room on an elevated platform with the seating of the audience in similar configuration so no one was far from the "stage". To the rear was the excellent chamber orchestra, sensitively led by Music Director Geoffrey McDonald who magically managed to define all the instrumental lines--using only his bare expressive hands and, at one point, exhibiting his bare chest as well. The listening experience was like getting close to a fabric and being able to recognize each thread composing the pattern. 

Instruments of the baroque period were in evidence and continuo was provided by harpsichordist Elliot Figg. There were some magical moments as when soprano Anya Matanovič in the role of Dorinda produced a stunning trill and the harpsichord echoed her trill. When Angelica (soprano Kiera Duffy) and Medoro (countertenor Brennan Hall) reminisce about the woods where they first fell in love, woodland sounds could be heard in the orchestra.

The story is silly and a straight presentation would never fly. The knight Orlando is obsessively in love with the princess Angelica who (of course) loves another--the Moorish prince Medoro whose wounds she healed in the cave of the shepherdess Dorinda.  Of course, Dorinda also loves Medoro. Orlando (countertenor Drew Minter) goes mad but is restored by the magician Zoroaster, performed by baritone Hadleigh Adams, who had enough strength in the lower register to qualify as a bass-baritone.

Mr. Schlather's daring direction and Terese Wadden's costume design presented these characters as denizens of downtown when downtown was delightfully decadent. Mr. Minter appeared as a derelict in pajamas under his street clothes and a raincoat on top. He looked frightfully seedy and disheveled. No wonder Angelica didn't love him! His last act aria "Vaghe pupille" was movingly delivered.

The role of Angelica was performed by Kiera Duffy whose bright soprano handily nailed Händel's embellishments. There was something uniquely affecting about the timbre of her voice with its just-right vibrato. She wore a short fur, straight out of a 70's thrift shop.

Dorinda's character was finely portrayed by Anya Matanovič; her lustrous soprano nicely served the character. When she sang about a nightingale in "Quando spieghi tuoi tormenti" she sounded like one. She sat for a long period of time behind a potted palm dressed in jeans and a t-shirt. Her consolation prize for losing Medora was....a Yankees pin and a cake provided by Zoroaster which she iced in blue. Musically, the trio "Consolati, o bella" for the two sopranos and Mr. Hall, was one of the highlights.

Zoroaster, being a magician, appeared in many guises, among them a Hell's Angel type motorcycle dude, Santa Claus, and a patissier. Then he appeared in a "onesie" looking like a serpent. Then he showed up in white body paint.  None of this distracted from his marvelously resonant voice as he sang "Sorge infausta una procella", another musical highlight.

Medoro merited no such costume extravagance, dressed simply in casual street clothes. His countertenor is sweet, pure, and youthful. His marvelous aria "Verdi allori" showed off his musicianship as well as his voice.

Paul Tate dePoo designed the set--a simple wooden bench with five spaces--and JAX Messenger was responsible for the apt lighting. Excellent titles by Jude Tietjen were projected on the far right and far left walls.  This was uncomfortable to negotiate but fortunately the singers' Italian diction was so fine that the titles became superfluous.

The opera concludes with Zoroaster having restored Orlando's sanity and successfully  gotten him to follow Mars instead of Venus. We left the Whitebox space somewhat dazzled and eager for the third entry in the trilogy--Ariodante. We are always overjoyed to see new iterations of old forms. Stay tuned!

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