A DIFFERENT "MOSTLY MOZART"

Charles Gray, Jennifer Zamorano, Allegra Durante, Hannah Madeleine Goodman, and David Serero

Opera fanatics might have gotten their knickers in a twist at last night's production of Mozart's Nozze di Figaro but everyone else, ourself included, had a grand time. Gone were the lengthy intermissions, missing were a few characters, and lengthy recitativi were replaced by English dialogue that advanced the action. We are happy to report that most of the major arias were retained, giving us the opportunity to appreciate some fine singing.

This adaptation was written and directed by baritone David Serero, a larger-than-life character with a larger-than-life personality. Mr. Serero himself took on the part of Figaro and played to the (nonexistent) balcony. If we had been at the Met, his voice would have reached the Family Circle and his acting would have successfully limned his character to the audience thereof.

Mr. Serero likes to put his own spin on things and the dialogue he wrote was peppered with Yiddish expressions. A mysterious figure appeared from the wings at one point, accompanied by a theme from the film The Godfather. This presence represented the sneaky Don Basilio; a photo of this character (actually Mr. Serero with a mobster accent and mafioso costume) can be seen in the carousel of photos on our Facebook page (called Voce di Meche). At another point, Charles Gray's Count Almaviva appeared dressed as Darth Vader, accompanied by appropriate music. That's one way to threaten a wife!

At another point Mr. Serero interpolated the "Figaro Aria" from Rossini's Il Barbiere di Siviglia. Forget the "fourth wall". Mr. Serero does everything he can to engage the audience and they all adore him; they even sang along at his bidding. A Tom and Jerry cartoon of this aria was projected and reminded us of our very earliest exposure to opera.

If this sounds like your cup of borscht, we urge you to go and have a good time. Make sure you bring an opera "noobie". The one we invited had a swell time.  Not only will you have a great time but you will hear some fine voices.

As the sprightly Susanna, we heard Hannah Madeleine Goodman who was completely convincing as the practical problem-solver, a fine match for her Figaro. She deftly illustrated quite different responses to her beloved fiancé and toward the importuning Count. In what would have been Act IV, her "Deh vieni, non tardar" was beautifully rendered and quite moving, by virtue of some exquisite dynamics.

As the neglected Countess Almaviva, Jennifer Zamorano made her entrance in sunglasses and shopping bags. It was easy to accept her as a woman of dignity, reduced to seeking help from her servant Susanna.  She shone in both arias--"Porgi amor" and "Dove sono", eliciting compassion in the midst of all that hilarity. Her instrument has a lovely vibrato and opens up beautifully in the upper register.

Equally convincing was the Cherubino of Allegra Durante who did justice to both of her arias "Non so piu" and "Voi che sapete". The scene in which the Countess and Susanna dress Cherubino up as a girl wound up on the cutting room floor, along with Marcellina, Dr. Bartolo, and Barbarina. It seems to us to be quite a challenge to retain the thread of the story whilst eliminating all the subplots--but it worked just fine.

As Almaviva, Charles Gray also evinced a different relationship with Susanna and with his wife. He sported a cockeyed white perriwig and satin coat. It was interesting that the male characters were in period dress whilst the female characters were in contemporary attire. Notes to the Count were handled by text with appropriate sound effects, bringing this costume drama right into the 21st c. and adding to the general merriment.

There was no set to speak of but projections sufficed to establish the setting.

The piano score was well played by composer Felix Jarrar who switched readily from Mozart to cinematic score.

Once more, Mr. Serero has done his part in bringing opera to new audiences with his creative slant. This production was held in the comfortable theater of the Center for Jewish History and was presented by The American Sephardi Federation which generously supports these works. He shared with the audience information about Lorenzo Da Ponte, who was Jewish. He related how Da Ponte brought opera to New York City--a tale which was well told by Divaria Productions which we reviewed in May of 2018; it can be read at this link if you are interested. http://www.vocedimeche.reviews/2018/05/don-giovanni-in-new-york.html

There will be a couple additional performances and we hope you will take advantage of the opportunity for some hearty laughter.

We are looking forward to the production of Anne, a musical about Anne Frank which will take place in September.

(c) meche kroop

PURE UTOPIAN SORCERY

Allyson Herman Kurian, Chelsea Rodriguez, Luke van Meveren, and Brian J. Alvarado in Utopia Opera's production of The Sorcerer by W.S. Gilbert and Arthur Sullivan

We can think of no finer revenge on the Blind Archer than to have his work undone by a magic elixir. The Sorcerer was William S. Gilbert's and Arthur Sullivan's third creation and their first two-act operetta; it was quite a success in its day but is not as frequently performed as Pirates of Penzance, The Mikado, and H.M.S. Pinafore. It endears itself to us by poking fun at class consciousness and by sending up so many operatic tropes.

Naturally our thoughts wandered to L'Elisir d'amore, Tristan und Isolde, and even, at the conclusion, to Don Giovanni. When, how, and with whom people fall in love is a topic of endless fascination.

In this story the well-meaning aristocratic Alexis (performed by the charming Luke van Meveren) wants everyone to enjoy the wedded bliss he is expecting with the similarly aristocratic and beautiful Aline (sung by the beautiful and golden-voiced Allyson Herman Kurian). He is a true progressive, wanting to see people joined without regard to social class.

Consequently, he employs the services of a sorcerer named John Wellington Wells (performed by the funny Brian J. Alvarado) and his apprentice Hercules (Chelsea Rodriguez). The love potion is served up to the Villagers (the superb Utopia Opera chorus) in their tea--with disastrous results.

Alexis' dignified father Sir Marmaduke Pointdextre (Jack Anderson White) has been in love with Aline's mother Lady Annabella Sangazure (Julia Snowden) for years and if you think they are going to get matched you are in for a big surprise.

Meanwhile, the lovely but "low-born" Constance (charmingly portrayed by Hannah Madeleine Goodman), daughter of Mrs. Zorah Partlet (Sarah Marvel Bleasdale) is pining for the pompous Vicar Dr. Daly (Ben Cohen) who thinks he is too old for love.  And if you think they will match, get ready for another surprise.

Mismatched lovers are always good for a giggle and Gilbert and Sullivan made sure we got our share of giggles with Sullivan's frothy melodies and Gilbert's witty words.  We wonder if there will ever again be a partnership that adept at setting the English language!

Polymath William Remmers not only directed and entertained the audience before the show by performing and explaining (!) a card trick, but also conducted the chamber orchestra of seventeen who filled Sullivan's melodies with sparkle.

The mid 20th c. costuming was well devised by Eric Lamp and Angel Betancourt.  There was an original scene involving a supernatural incantation which Sullivan had never set. Just listen to how Maestro Remmers solved that problem!

If we have a small quibble (and don't we always!) it would be with the inconsistency of the accents. For some reason, Mrs. Partlet and Constance employed an odd accent that was not quite French and not quite German. The words of the working folk of the village were given surtitles utilizing a cockney accent which was not uniformly adopted in the singing. Mr. Alvarado, who was quite adept in the patter songs, failed to achieve anything resembling a British accent. However, the aristocratic folk did rather better with a plummy accent which no one could have failed to identify.

Quibble aside, it was a marvelously entertaining piece of theater and we hope you read this in time to get tickets for the Sunday matinée which closes the run at Hunter College in the Lang Recital Hall.

If not, you must see what this spunky company will do with Britten's Albert Herring in April.

(c) meche kroop