MANNES DOES ALCINA

 David Khang, Zhedong Ren, Ruijia Dong, Brooke Jones, Maestro Geoffrey McDonald,

Marcella Astore, Jooyeon Park, and Yoonji Kim

The music of Händel is favorable for young voices and we were pleased that Mannes Opera chose one of his operas to showcase seven young and talented singers. We are pleased not only because we love his music but also because it means that these young singers will have learned a role that may lead to employment. Casting students in unknown contemporary operas has always seemed to us to be wasteful of the singers' time and efforts, inasmuch as they will likely never get to reprise the role. Alcina is one of our favorite Händel operas and we have seen it and enjoyed it a number of times.

Each character gets a chance to shine since each aria offers a ritornello that invites decoration of the vocal line-- as much as the singer can Händel.  (Sorry about that; we just couldn't resist.) The story is just one episode in a 16th c. epic poem by Ludovico Ariosto entitled Orlando Furioso. It is not necessary to know the entire poem to appreciate this 1735 opera seria but it is amusing to note that poor Bradamante has been pursuing Ruggiero throughout the entire epic, and also that the prolific Händel drew not one but three operas  (Orlando and Ariodante) from the same source.

In this episode, Ruggiero (mezzo-soprano Ruijia Dong) winds up on an enchanted island where the beautiful sorceress Alcina (soprano Brooke Jones) has seduced men and turned them into animals, plants, and rocks. Poor Bradamante (mezzo-soprano Marcella Astore) has disguised herself as her own brother and, accompanied by Ruggiero's former tutor Melisso (bass-baritone David Khang), come looking for Ruggiero.

Alcina's sister Morgana (soprano Jooyeon Park) instantly falls for the disguised Bradamante and casts aside her lover Oronte (tenor Zhedong Ren). The youth Oberto (soprano Yoonji Kim) is also on the island searching for his father Astolfo who had been converted into a beast.

As you can see Dear Reader, the plot is complicated but has to do with infatuation, seduction, betrayal, forgiveness, revenge, delusion and disillusionment. Having read the notes of Director Sam Helfrich a few hours after the conclusion of the opera, we were a bit surprised to learn that his interpretation of the themes were quite similar to ours.  We can understand his intention to highlight these themes but somehow presenting the work as a French farce didn't work. 

Set designer Daedalus Wainwright created a beautiful set which seemed to be early 20th century art nouveau, at least we recognized some pieces of furniture that reminded us of Musée D'Orsay in Paris. There was a divan, a chest, gorgeous lighting, and lots of doors which emphasized the dramatic entrances and exits of the performers. 

The costume designs of Camille Charara were disappointing. Ruggiero looked not a bit heroic. Bradamante was stuffed into an ill-fitting man's suit which appeared rather contemporary. Alcina might have looked more glamorous. Morgana and Oberto made out somewhat better. As a matter of fact, in terms of acting Ms. Kim's Oberto was most convincing, since it was sincere and underplayed. Oberto's reunion with his restored father was touching.

So, between the anachronism of contemporary clothing and the art nouveau set, magnified by substituting a pistol for the libretto-identified spear--well, we just didn't get it. It's no wonder we associated a French farce with characters  running in and out. 

This is not the only strange concept a director has imposed upon this opera. We reviewed one in Santa Fe that took place in a theater, and one in New York City in which Alcina's magic spell was produced by narcotics and all her victims had to endure withdrawal. We suppose there will never be a straight production of this opera so the best we could hope for is consistency within a given concept.

We decided to try to ignore the silly stage business and focus on the musical values which were fine. Maestro Geoffrey McDonald always brings out the best in musicians and the Mannes Orchestra did not disappoint. By a strange coincidence, the first time we heard Mo. McDonald conduct, it was at least ten years ago, in a chamber production of the same opera!

© meche kroop

TWO ESTHERS

 Curtain Call at Opera Lafayette's Presentation

"From Saint-Cyr to Cannons: Moreau and Handel's Esther"

In two days we have gone from comedy to oratorio and changed location from El Museo del Barrio to the modern sanctuary of St. Peter's Church (in Manhattan, not Rome). With their customary scholarship, Opera Lafayette presented two versions of the biblical Story of Esther. This heathen reviewer was obliged to read about it, to understand the text of the two oratorios which were presented on the same program. If you do not know the story, we will share it with you, directly from Wikipedia.

"Esther,^[a] originally Hadassah, is the eponymous heroine of the Book of Esther in the Hebrew Bible. According to the biblical narrative, which is set in the Achaemenid Empire, the Persian king Ahasuerus falls in love with Esther and marries her.^[1] His grand vizier Haman is offended by Esther's cousin and guardian Mordecai because of his refusal to bow before him; bowing in front of another person was a prominent gesture of respect in Persian society, but deemed unacceptable by Mordecai, who believes that a Jew should only express submissiveness to God. Consequently, Haman plots to have all of Persia's Jews killed, and eventually convinces Ahasuerus to permit him to do so. However, Esther foils the plan by revealing and decrying Haman's plans to Ahasuerus, who then has Haman executed and grants permission to the Jews to take up arms against their enemies;^[2] Esther is hailed for her courage and for working to save the Jewish nation from eradication."

How appropriate we find this story, whether fact or, more likely, fiction--a story of a woman who overcomes her fear and acts with courage and fortitude, risking her life to save her people. The Story of Esther has inspired many beautiful paintings and some mighty fine music; Opera Lafayette brought us two exemplars. The 1689 work by Jean-Baptiste Moreau (libretto by the famous French playwright Jean Racine) was presented by Madame de Maintenon, second wife of Louis XIV, at her chateau/spiritual retreat at St. Cyr where she instituted a school for young women of the lesser nobility; they received moral instruction as well as theatrical.

Extracts of the works were conducted from the harpsichord by Justin Taylor with contributions toward the musical direction by singer Jonathan Woody who gave a dramatically scary performance as the evil Haman, one of the world's earliest would-be racial cleansers. The Persian King Ahasuerus was portrayed by Jesse Darden. The female roles were taken by soprano Paulina Francisco (reviewed earlier this week in the comic work La Fête de Thalie), soprano Elisse Albian, and alto Kristen Dubenion-Smith. Jacob Perry sang the tenor parts. 

It was barely two decades later that Handel created his own setting of the story to text by Samuel Humphreys, which was sung in English. Let credit be given to the singers for clarity of diction as well as uniformly beautiful vocalism and musicianship. It was interesting to witness how compositional style evolved within that brief period.

The Moreau work, sung in fine French, had many interesting moments. With "O mortelles alarmes!" we appreciated the melding of two voices and in the second iteration of that phrase, a moving cello solo by Serafin Smigelskiy, who also carried the stirring "Entracte". Later in "Que le peuple est heureux", we loved the expressive vocal trio. The nature of that particular section seemed written to glorify King Louis in subtle allegorical fashion. Ms. Dubenion-Smith lent her fine mezzo instrument to some authoritative declamation that filled the sanctuary. 

There was a lively and rousing "Marche" followed by another vocal trio and the sopranos took turns in praising God. But the best part was the cheerful "Que son nom soit béni" which was delivered with overlapping voices, bringing this half of the evening to a stunning conclusion.

After a brief pause, we entered a more sophisticated world in which Händel made generous use of the decoration of the vocal line which we so admire in his operas. We also noted the addition of instruments providing a more textured sound. Mr. Woody made a detestable Haman, just as called for. (Love the voice, hate the rôle!) In "Praise the Lord with cheerful noise" there were some bravura flourishes from Mr. Taylor's harpsichord, and some fine coloratura singing from Ms.Francisco.

A somber sextet in "Tears assist me" was marked by a prominent descending motif. When Ahashuerus is awakened by the courageous Esther, Mr. Darden allowed the king a moment of anger that softens when he recognizes his beloved wife. It was a powerful moment. The dialogue between the two singers that follows was lovely and moving.  Mr. Woody had a fine moment as Haman pleads for his life and mourns his fallen state.

The final number "The Lord our enemy has slain" is an exultant canon for the six voices and Händel's command of the musical language is impressive, ending the work on a high note, so to speak.

It was a worthwhile evening, even for a heathen. "Si, non e vero e ben trovato"! How stimulating it was to hear the two works together. As is everything done by Opera Lafayette, it was original in creation and flawless in execution. Mr. Taylor is a true artist at the harpsichord, the singers were superb, and the orchestra magnificent. A special shout out to Concertmaster Jacob Ashworth for his artistry on the violin.

As is our custom, we invited someone unfamiliar with the world of classical voice. He enjoyed the performance without any prior knowledge, thus proving our belief that opera and classical singing can be appreciated on its own merits. The unamplified human voice goes straight to the heart.

© meche kroop