AN OPERA IS AN OPERA IS AN OPERA

Cast and Production Team of Ricky Ian Gordon's 27 at New York City Center
(photo by Erin Baiano)

Regular readers will be shocked to learn that we have seen a new opera and enjoyed it.  We have about given up on hearing a new opera that has melodic arias.  That just isn’t going to come out of the 21st c., especially not in the English language. What we have been seeing are “plays with music”.  But the music has been mostly unmusical. Last night we saw and heard an opera in which many positive factors came together to produce an absorbing and enlightening experience. 27 was commissioned by The Opera Theater of Saint Louis in 2014. This New York premiere included a new expanded choral section written just for Master Voices.

Composer Ricky Ian Gordon chose a subject dear to his heart, a subject that inspired him, the life of Gertrude Stein, the renowned writer, poet and art collector, a major influence in the worlds of art and literature.  He avoided the trap of trying to set her texts to music as Virgil Thompson did.  Instead he chose librettist  Royce Vavrek who constructed a conversational libretto of short uncomplicated phrases that did what the English language does best. There was sufficient repetition of phrases to bind the work together in a manner that was reflective of, but not imitative of Gertrude Stein’s writing style. 

Several successive periods of Ms. Stein’s life were illustrated—a creative life that spanned two World Wars.  The theme running through all these epochs was her relationship with the incredibly devoted Alice B. Toklas who performed innumerable functions including emotional and practical support. Their love story takes center stage.

The earliest period illuminated her involvement with young painters like Pablo Picasso and Henri Matisse; then we visited her salon during the privations of World War I when food and coal were hard to come by. Next we witnessed the post-WWI period of "the lost generation" when her salon was visited predominantly by young writers—“Scotty” Fitzgerald and Ernest Hemingway. Finally we visited her during WWII when her political affiliations were suspect.

Mr. Gordon’s music was powerful when it needed to be and gentle when called for. The romantic duets for Ms. Stein and Ms. Toklas were beautifully written as were the ensembles. The music for wartime utilized percussion to evoke the bombing of the Luxembourg Gardens and the anxiety of those Parisians enduring it.

In addition to the compelling story and the exciting music, the casting of the singers and their performances were extraordinary.  As Ms. Stein, mezzo-soprano Stephanie Blythe’s larger than life performance perfectly suited the larger than life character of Ms. Stein. The deep and muscular timbre of her voice and her acting had us believing that she was the ghost of Ms. Stein right there on the stage of New York City Center.

Soprano Heidi Stober perfectly portrayed helpmate and wife Alice B. Toklas.  The opera opens with her alone, after Ms. Stein’s death, knitting a bulky garment, knitting up the scenes of their life together. The opera ends at the same place—a superb framing device letting us experience the memories along with her.  Ms. Stober’s bright soprano was perfect for the part and blended beautifully with Ms. Blythe’s.

The other characters in the opera were portrayed by three fine artists for whom we have nothing but praise.  Tenor Theo Lebow was effective as the timid and bibulous Scott Fitzgerald-- but he was absolutely remarkable as the young Picasso. Thanks to the imaginative costuming of James Schuette, he entered dressed as a matador wearing the head of a bull.

Baritone Tobias Greenhalgh gave an excellent portrayal of the photographer Man Ray but was most impressive as Ms. Stein’s brother Leo who strutted around in an enormous raccoon coat, denigrating his sister’s salon and choice of paintings.

Bass-baritone Daniel Brevik impressed as Matisse and later as Hemingway, dragging an elephant behind him.  Oh yes, did we mention that the work was salted with a great deal of humor?

The funniest scene of the opera involved the “wives of geniuses” who bored Ms. Toklas with their talk of perfume, hats, and furs. Just imagine if you can, these three highly masculine singers in drag, singing an unforgettably clever trio.

A trio of soldiers, portrayed by the aforementioned Mr. Lebow, Mr. Greenhalgh, and Mr. Brevik appeared in various scenes together. Their voices harmonized so incredibly well. Their working so well as an ensemble is understandable, given that they portrayed the same roles at the St. Louis premiere.

The set design by Allen Moyer had a great big “27” to indicate  the address on Rue de Fleurus where all the famous and soon-to-be-famous gathered. The stage was littered with paintings and some chairs. 

Ted Sperling, Artistic Director, conducted the Orchestra of St. Luke’s and Master Voices. It is well worth mentioning that the diction of this enormous chorus was so crisp that not a single word was lost. Although there were projected titles, they were superfluous. Everyone’s diction was beyond reproach.

The production was well directed by James Robinson.

Every element worked together to produce a memorable evening about which we had a surprising thought—“I’d see this one again”. We have yet to feel such enthusiasm for a contemporary work.  Our eyes and ears have been opened.

(c) meche kroop

CRAZY IN LOVE

Cecelia Hall and Susanna Phillips (photo by Ken Howard)

Dear Dan Savage,

Who else but you could help me with my savage feelings! I recently started working for an important guy in my town. I fell madly in love with his housekeeper but she is hanging in there with high hopes of marrying her boss.  I'm sure she doesn't have a chance with him and I know I am the right guy for her but she is one difficult woman!  She keeps rejecting me.  How do I convince her?  I'm just a working stiff but I'm reliable.  Doesn't that count?

Yours truly,

Nardo the Nebbish

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Dear Abby,

I just about convinced my boss to marry me, after several years of keeping house for him.  He's old but he's rich and I'm tired of working.  I thought I had a lock on him but he recently hired a gardener, a woman gardener.  There's something phony about her and she's got him wrapped around her finger.  How can I expose her and get him back?

Sincerely,

Serpetta

________________

Dear Dan,

It's tough being a guy with position and money.  I've been alone for years and was thinking of marrying my housekeeper so she could ease my later years.  Recently I hired a woman to tend my garden and, well, how do I put this delicately?  The sap is rising!  She doesn't seem particularly interested but I'm sure it's because she is depressed.  There must be something in her past that causes her to overlook a catch like myself.  How can I get her to look at me and see how much I have to offer her?

Yours in renewed rapture,

Don Anchise

________________

Dear Dan,

I suspect you are going to tell me to DTMFA, but I hope you will not because I am so in love with this guy.  He has anger management problems and, in a fit he attacked me with a knife. He left me for dead but I survived and I want him back.  I know we are meant for each other!  He's really a wonderful guy and I think I could get him to go for therapy. The problem is this--I decided to totally change my life by giving up everything and going to work at something menial. (My boss is interested in me but I can't even look at him.)  Imagine my shock when the man I love showed up at his home and is engaged to his niece.  They blow hot and cold and if he found out that I'm alive I'm sure he would give her up and return to me.  Please help!

Sandrina

_________________

Dear Dan,

I am a bad boy.  Here I am engaged to a beautiful woman who is capricious and always wants things her way, a real princess. But I cannot forget my ex-lover who I may have killed in a fit of jealousy. At the time I thought I was justified!  I saw in my fiancée's uncle's house a woman who reminds me so much of her.  I cannot believe it and I think I want to back out of my engagement.  Am I a total A-hole?

Belfiore

_________________

Dear Dan,

What a jerk I am.  I have been hanging around this gorgeous gal who keeps stringing me along.  She is so fickle.  Now she just got engaged to someone else. She's independent and bossy but I love her anyway. Do you think there is some way I can coax her away from this other dude?  Please answer quickly Dan.

Ramiro

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Dear Abby,

Can you help me with a quandary?  It's time I married.  I have been keeping company with a swell guy but he is so devoted I started to take him for granted.  Along comes this exciting guy who swept me off my feet.  But he is fickle and seems to be flirting with someone in my uncle's employ.  Should I choose the exciting one or the loyal one? I might add that whichever one I choose, I will rule the roost. I am accustomed to getting my way. For the kind of woman I am, which guy would make the best match?  I'm counting on you Abby.

Arminda

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Now that you understand the plot of Mozart's youthful opera  La Finta Gardiniera (LOL), let it be said that the Santa Fe Opera gave it a delightful production.  The cast was all around superb.

The Marchioness Violante, disguised as Sandrina the gardener, was portrayed by Heidi Stober. As the spoiled and demanding Arminda, Susanna Phillips sang and acted up a storm, stepping out of the usual gentle sweetness we associate with her.

Soprano Laura Tatulescu portrayed Serpetta with rather more unpleasantness than wiliness.

As the flip-flopping Belfiore, tenor Joel Prieto made a fine impression. As the Podestà, tenor William Burden more than fulfilled the demands of the role.

Mezzo-soprano Cecelia Hall was extraordinarily convincing as Ramiro and Joshua Hopkins, in the role of Nardo, impressed us with his superb baritone and sympathetic portrayal.

The production was gorgeous and true to the period.  Tim Albery's direction kept things moving at a swift pace and Harry Bicket's precise attack on Mozart's marvelous music kept up.

Hildegard Bechtler's stunning set took us right back to the 18th c. as did Jon Morrell's lavish costume design. The Podestà's overdone costume and wig were a source of giggles and Ms. Phillips looked exquisite in her gown, with the widest paniers we have ever seen.

Sandrine and Serpetta were drably dressed in black but they were servants and perhaps that is how servants were dressed in those days.

This was not Mozart's first opera and his enthusiasm for the form is unmistakeable. Melodies tumbled after each other all night long. All he needed was a good librettist and thank goodness Da Ponte came along.  Now that was a match made in heaven!

This was the last opera we heard in Santa Fe this season and we were overjoyed to end on such a happy note. By the end of the opera, everyone was happily coupled except for the Podestà and he was hopeful about his romantic future.  Delightful!



(c) meche kroop

HEIDI STOBER

Heidi Stober (photo by Simon Pauly)

We have long been a fan of lyric soprano Heidi Stober whom we have enjoyed several times on our summer sojourns to the Santa Fe Opera. We particularly recall her delightful performance as Folly in Platée and as Zdenka in Arabella.

Her New York recital debut at Weill Recital Hall of Carnegie Hall revealed her artistry as a recitalist. She spoke readily of her joy as mother to a two-year-old and, indeed, based much of her recital on that premise.

Her bright and penetrating instrument is particularly suited to Strauss and her set of songs by that composer comprised songs that referred directly to motherhood like that amusing narrative "Muttertänderlei" in which a mother boasts of her very special child, the worshipful "Meinem Kinde", and "Jungenhexenlied", the charming tale of a young witch racing home to her little boy.

More of a stretch in terms of interpretation were "Ich trage meine Minne" and "Mein Auge" which we had always thought referred more to romantic love.  Never mind!  It all worked out well and now we have an interesting new way to hear these lovely songs.

Speaking of a stretch, we could not fathom the connection between the five excellent Schubert songs in the next set.  Ms. Stober told the audience that her collaborative pianist, the affable and sensitive Craig Terry, came up with the idea of providing a backstory and sequel to "Der Zwerg".

Here-- a "Gute Nacht" from Winterreise.  There-- an "Am Feierabend" from Die Schöne Müllerin.  Then the lovely waltzy "Auf dem Wasser zu singen" and--as postlude "Im Abendrot" with its profoundly spiritual nature.

Ms. Stober is a born storyteller and each song was compelling and deeply felt.  But they did not add up to a narrative.  We mostly enjoyed "Am Feierabend" as Ms. Stober colored her voice differently for the young poet/apprentice, his miller/boss, and the miller's daughter.

Four selections from Debussy's Ariettes oubliées were sung in fine French with long languorous lines except for the passionate climaxes. We heard "C'est l'extase", "Il pleure dans mon coeur", "Spleen", and (our favorite) the lively "Chevaux de bois" which injected welcome variety.

Selections from Jake Heggie's From the Book of Nightmares belong to that category of contemporary works that make us wonder why a composer would choose such unmusical poetry (by Vermont poet laureate Galway Kinnell).  Heggie's writing for piano and cello was most interesting with David Heiss bringing out the interest in the cello line and Mr. Terry doing the same on the piano. But the vocal line did not "sing" although Ms. Stober brought all her artistry to the table.

The final set had the theme of Ms. Stober's home state--Wisconsin. The most substantial work was Cécile Chaminade's wonderful "Chanson de neige" in which Ms. Stober heightened the emotions almost to the point of irony.

Max Reger's "Die bunten Kühe" brought in some light-hearted humor. Henry Leland Clarke's "Of Cheese" struck us as trivial.  Alec Wilder's "Milwaukee" was fun and in the jazz-pop mode.

It was a generous recital given by a beautiful star who comes across as the girl next door.  This girl next door graced the audience with yet one more song.  As encore, she continued the motherhood theme with "This Child is Born" with music by Thad Jones and lyrics by Alec Wilder.

(c) meche kroop

OSCAR!

David Daniels, Composer Theodore Morrison, Heidi Stober and Director Kevin Newbury--photo by Ken Howard

Much of contemporary opera comes across as theater with music and Theodore Morrison's fine new opera Oscar, premiered at Santa Fe Opera, is just that.  The text has been adapted by John Cox from quotations by Oscar Wilde himself and by his contemporaries.  It is a sad story of persecution of homosexuals by the British justice system.  The story telling makes it clear that Mr. Wilde contributed to his own downfall by letting his love for "Bosie" (Lord Alfred Douglas) cloud his judgement.  His pretty young lover had a big grudge against his father The Marquess of Queensberry and used Wilde badly by pushing him to sue his father for libel.  This resulted in Wilde's conviction for committing "acts of gross indecency" resulting in a two year sentence to hard labor and solitary confinement.  By the end of the opera, our hero has become a broken man but enlarged in spirit such that he is admitted by Walt Whitman into the hall of literary immortals.

Director Kevin Newbury did a fine job of limning the story.  Conductor Evan Rogister conducted briskly.  The music is powerful and is in many places closely allied with the words but not always; at times it seemed as if Morrison were trying for an ironic effect.  There are some arresting uses of winds, percussion and harp.

The set by David Korins with lighting design by Rick Fisher created some vivid images suitable to the story.  The very Victorian Redding Gaol where Wilde was imprisoned was frighteningly convincing.  Costumes by David C. Woolard were appropriately Victorian.

Famous countertenor David Daniels was convincing as the eponymous hero; indeed it appears that the role was written for him.  There are vocal melismatics reminiscent of Handel.  There is a wonderful warm scene in Wilde's friend Ada Leverson's nursery which she has offered to him when he has been denied lodging all over London.  Soprano Heidi Stober portrays this character beautifully and their singing about Wilde's preference for absinthe is delightful.  In this scene they are joined by Wilde's other friend Frank Harris, sung by the always excellent William Burden.

Another wonderful scene--this one upsetting, not delightful--occurs in the prison the night before a man will be hung and the inmates are mad with anxiety; this was a case in which the music reinforced the text.  As awful as the prison was, Wilde did enjoy a modest period of kindness from a kindly warder named Thomas Martin, sympathetically portrayed by fast-rising baritone Ricardo Rivera, also seen as an unpleasant hotel manager who refuses Wilde lodging. 

The scene in which Wilde's show trial is staged as a farce with nursery toys re-enacting the proceedings is a directorial marvel.  The very funny bass Kevin Burdette portrayed Mr. Justice Sir Alfred Wills and the Jury Foreman was portrayed by Reuben Lillie.  Mr. Burdette was also seen as the vicious Colonel Isaacson who ran Reading Gaol with an iron fist.

The prologue and epilogue featured a fine Dwayne Croft as the American poet Walt Whitman who befriended Wilde.

Several apprentices appeared in smaller roles--Patrick Guetti as a pompous butler, Yoni Rose as a bailiff, Aaron Pegram and Benjamin Sieverding as detectives and prison warders--the latter joined by David Blalock as patients in the infirmary.

Having the role of "Bosie" taken by a dancer instead of a singer was an interesting decision and Reed Luplau was a fine casting choice.  Choreography was by Sean Curran.  So, instead of some love duets between Wilde and Bosie, we got to watch some fine ballet because Bosie's image appeared regularly to Wilde.  Although Bosie managed to forget Wilde and leave the country, Wilde remained deeply affected by his love for Bosie.

This was a worthy entry into the world of contemporary opera and we were glad for the opportunity to attend its premiere.

© meche kroop

ARABELLA OPENING IN SANTA FE

Well known for scheduling operas by Strauss in their delightful summer season, the Santa Fe Opera came through this summer with a delightful presentation of Arabella, a truly Viennese confection, the ultimate collaboration of Richard Strauss and Hugo von Hofmannsthal.  The weather was perfect, the singing glorious and the conducting by Sir Andrew Davis of Strauss' melodic but conversational score could not be faulted as massive orchestral forces were employed to bring out the master's lavishly complex harmonies.

Soprano Erin Wall, well remembered from her performance of Daphne, did a fine job interpreting the role of the eponymous heroine, a most sought after debutante from a newly enobled family, the Waldners.  Much of the opera involves the not very welcomed courtship of her by her many suitors.  Tenor Zach Borichevsky not only sang with fine Straussian style but created a most sympathetic character as Matteo, a young officer beloved by Arabella's sister Zdenka but pining after Arabella.  Zdenka, in an interesting twist, has been raised as a boy to save her parents the expense of "coming out".  Until the third act "reveal", poor Matteo thinks of the young man as Zdenko, his only friend.

The theme of the opera would seem to be the farewell Arabella makes of her girlhood at the Fasching Ball and her assumption of the role of adult in romantic partnership with Mandryka whom she spies from the window and with whom she falls instantly in love.  Fortuitously, Mandryka is the nephew of an old army buddy of Count Waldner and an acceptable suitor;  the Count has gambled away the family fortunes and Mandryka is a wealthy landowner.  The first act offers the listener a marvelous duet between the two men; Count Waldner is superbly portrayed by bass-baritone Dale Travis while Mandryka is well sung by baritone Mark Delavan.  There is a slight sense of unbelievability in the romance between Arabella and Mandryka since their duet in Act II simply lacks connection and chemistry and his character is portrayed without any charm.  All of Arabella's suitors are wealthy and charming and it is difficult to understand her choice.  But then, the heart wants what the heart wants and who are we to judge!

In a charming and superbly sung performance as  Zdenka, soprano  Heidi Stober, well remembered from Platee, won our hearts and thunderous applause from the audience.  Kiri Deonarine thrilled us with her coloratura in the role of Fiakermilli.  Mezzo Victoria Livengood made a fine and funny Countess Waldner and baritone Brian Jagde was impressive as Count Elemer, one of Arabella's many suitors.  We were pleased to see Jonathan Michie, well remembered from Albert Herring as Dominik, one of Arabella's suitors.

The production, directed by Tim Albery, was updated without any valid dramatic reason, from the 1860's, chosen by the creators, to about 1920, judging by the Poiret type costumes.  The costumes and sets by David Finn were lovely but lacking in color.  Wigs were ill-fitting and unbecoming.  Dramatic fluidity  seemed somewhat lacking and the final act which is supposed to take place in the Waldner home seems to take place in some ill-defined area of the hotel.  It can be annoying when such liberties of time and place are chosen.  But that is a small reservation in what amounted to a delightful evening.

(c) meche kroop