A FULL BANQUET OF ART SONGS AND FOLK SONG FROM AROUND THE WORLD

Alfira Ahmatjan, Nina Mutalifu, Nikoleta Rallis, Eugenia Forteza, Idil Milliogullari, Hyungjoo Eom, Aza Sydykov, and Pavel Suliandziga (photo by meche kroop)

Guest review by Mario Arevalo:

“In a world outside where everyone is divided by our politicians trying to build walls and create hate, here we are in this sacred place to make music, to be together in a spirit of love, unity, and fellowship”.

These were the welcome words of Meche Kroop, a wonderful friend to all of us young artists in New York City and founder of Voce di Meche, an online blog where you can find reviews of almost every operatic and classical event in Manhattan.  A full house of friends, musicians, conductors, singers, and families came to support the singers and specially Meche Kroop since she is one of the biggest pioneers of supporting and reviewing many of these audiences events.

(Editor's comment--we are blushing at this extravagant praise but we promised to print review as written.)

Around the World in Song was a huge success, not only because of the meaning of the concert but because of the high quality of performance by all of the singers and piano collaborators. All of the singers interpreted songs from their countries, and it was like a food banquet of delicious plates starting with an amazing appetizer of songs from Russia, 1^st Course of European delights from Kyrgystan,Turkey, and Greece, a 2^nd Course of Latin American delights--spicy and tasty songs from Spain and Mexico accompanied by a wonderful glass of wine from Argentina, a 3^rd Course of, and finishing with, a melting dessert of beautiful songs from Korea and Xianjian Uyghur Autonomous Region of the People’s Republic of China that left us wanting more. 

It was a well balanced and wonderfully curated program. All the repertoire except Lenski’s Aria “Kuda Kuda" from Eugene Onegin was new to our ears and let me tell you that it was worth it, traveling from far Long Island to be there and experience this joyous evening of songs from around the world. 

Most of the songs described longing, love, beautiful sceneries of important places in the singers countries, and a farewell song. Then I asked myself this question. Is it because we immigrants have to leave our families, friends, culture, traditions and music that allows us to interpret repertoire from our countries with so much heart?

 All of the singers not only showcased beautiful singing, but they were so expressive to show the beauty of poetry and their countries' traditions-- by allowing us to hear different styles of compositional form. All them were able to make us feel like we understood every single word even though there were no translations in the program. 

All the singers spoke a few lines about what the song meant to them, or what the song was about. For some it was their first time performing these songs outside their native countries. But they did show us the most important thing, at least for me. Music does not a have a tongue, Music unites, Music is love, Music is all around the world and touches hearts when performed with affection.

Russian Tenor Pavel Sulyandziga gave us a fine interpretation of the familiar aria “Kuda Kuda" from Eugene Onegin. He stated that he chose this program because next year will be Tchaikovsky's 180^th Anniversary and also because Eugene Onegin was the first opera he sang. Words show intention, Words show purpose, Words show feelings and this young tenor had all of these three factors, which in these days are very important for any interpreter of opera. 

He added all the tensions and emphasis this aria needs while Lenski is in his time of despair and trying to accept his destiny.  

This wonderful fine light lyric tenor with a touch of dramatic sound was able to connect with us singing Tchaikovsky’s “To bylo ranneju vesnoj” --(in English  "It was in the early spring”) and “Den li tsarit” -- (“Whether  daylight reigns"). These two songs were able to give us a different side with more acting and interpretation from Mr. Sulyandziga. These two melodic songs allowed him to be more tender, sensitive and full of expressions. I would like to hear some Schubert songs from this young tenor.

Soprano Nikoleta Rallis also honored her husband's country and she impressed me with songs from Kyrgyzstan. To be honest I have never heard of this country, so I was blown away by the beautiful music. Very seductive, rare but very melodious. Ms. Rallis' husband told us that these two songs “Sen belesing" and "Issuk Koel Waltz”  were composed by Kaliy Moldabasanov a violinist, composer and conductor. And they chose this repertoire as an honor to the composer as his 90^th birthday was 3 days ago. 

The other country she represented was Greece, her ancestors' country. She told us that none of these songs are published and that they were given as a gift to a friend of a friend, so they meant so much for her to perform. In this set she didn’t use a music stand, so we were able to get the full force of her artistry. 

“S’agapo" (I love you ) was a very sweet and powerful song. But her aria “Sofias Aria" from Markos Botsaris by Pavlos Karrer gave a full impression of Ms. Rallis' considerable communicative powers. It also showed her to be an agreeably flexible interpreter singing the recitativo and aria of this woman dressed as soldier looking for the love of her life., then catching all of our attention in the cabaletta with an almost mezzo-like tone that would suit Strauss, quickly showing a bright, powerful top.

Then we traveled to Spain with the incredible voice of Soprano Eugenia Forteza. When I start talking and writing about this singer, I always get blown away by her artistry and her surprising choice of nontraditional repertoire; it is sublime. I am a native Spanish speaker and to hear another singer singing in my mother tongue, not only makes me proud, but it also shows me the hard work singers puts into their performance. 

Each song was sung with different accents according to where the songs were written. In the aria “Lagrimas mías" or "Tears" from Miguel Marques' zarzuela El Anillo de Hierro, Ms. Forteza sounded radiant throughout with wonderful legato lines and impressive breath control. I always have asked myself how such a tiny singer can produce such a big sound. Ms. Forteza is a total diva on stage; she devours the stage; she knows every single hand move, facial expression and body movement she wants in her interpretations.

 “Morenita me llaman" from Il Postino by Daniel Catan was also very impressive. Ms. Forteza showed us yet more colors in her voice. We were blown away by her vocal and theatrical abilities. I think it is very difficult singing in your own tongue but Ms. Forteza took this bull by its tail. Singing in her own mother tongue seems to be the easiest thing for her. Her showcasing of Carlos Guastavino songs “Bonita rama de sauce” (Pretty Willow Branch) and “Hermano” (Brother) from the song cycle Doce canciones populares were two songs that were dear to me. I am a huge fan of Guastavino and when I hear someone singing with such exquisite phrasing, great diction and musicality, it makes my heart pound. Ms. Forteza should give us a full concert of Guastavinos songs since she is a pure Argentinian interpreter.

With deep tone, warmth, and sensitivity, South Korean Baritone Hyungjoo Eom gave us some beautiful and romantic singing of Korean composer Hak Jun Yoon's  “Majoon" (Coming to meet you) and "Janhyang" ( Your scent)-- two beautiful art songs. They were absolutely gorgeous. To me they sounded like 21^st century wedding songs. Very intimate, sensual and romantic pieces. 

His voice is very tenor like, even though he is a baritone. His upper range is open throated, but with the deep colors of a baritone. I think he is a tenor but time will tell. I loved his Folk Song interpretation of "Shingosan Taryoung" (A song of Shingo mountain) a very popular song according to the singer, and so ancestral that nobody knows who the composer is; there have been many arrangements. The song is about a mountain located in North Korea that everyone loves and praises and in this song the singer is saying “I believe I want to live in this mountain with you my love, but I am single so I will still go and visit and live there” --translation according to the singer.

Soprano Idil Milliogullari gave us two arias by contemporary Turkish Composer Selman Ada. The first aria “Gne kizlik aryasi” from Ask-I Memnu (Forbidden Love) is based on Halid Ziya’s romantic novel of the same name, published in 1900. As in the novel, our protagonist is Adnan Bey, but in addition to the extramarital love affair that leads to his young wife Bihter’s suicide, the story emphasized the dictatorship of Abdülhamid II, who was the Ottoman Sultan in the early 20th century. 

Ms. Milliogullari possesses a very expressive, light coloratura soprano. She looked wonderful onstage with that beautiful dress and made an impact in this concert. Her 2^nd Aria was from Ali Baba and the Forty Thieves. The singer sings a lullaby to put the bad guys to sleep. A humorous fantasy, it became the most popular opera in Turkey, and was initially directed by Murat Göksu in Ankara in 1991. Ms. Milliogullari has a lovely soprano voice that she uses well, and her performance was both vocally pleasing and dramatically convincing. The aria was very mysterious and enchanting. The language sounded very difficult to sing. So kudos to this performer for making me want to hear more.

Our last singer of the evening was Nina Mutalifu, who to me and to some of my friends that were present in the concert, stole the show. She is an angel, she is a superstar. Her dark chocolate voice was gorgeous. Her interpretations of Uyghur songs were out of this world. The 1^st song “Tarim” (Farewell) by Iskender Seypulla, according to the singer, is about the people of Tarim saying goodbye to their people by the river. This was her opening song and it impressed us so much that we couldn’t wait to hear the rest of them. The 2^nd Song “Bulbujan” (My nightingale)  is about singing to the love of her life, in sweet sounds like a nightingale. Ms. Mutalifu used her large and splendid soprano voice to great dramatic effect as she expressed the depth of her love. 

The 3^rd Song “Seni Esleymen” (Longing) really brought tears to my eyes--a song about longing for one's family. In this song Ms. Mutalifu got very emotional and showcased a range of emotions through  her singing. It was her low and middle range that truly held my attention. A gorgeous voice with warmth and charm, her facial expressions alone convey that pain of longing for her family. I truly felt it. 

Her last song was “Bir Piyale Mey” (Wine of Love) a song to the people that love her; she returns the love and thanks them with a glass of wine. She is a soprano that clearly adds passion and personality to every song she interprets. I am sure I will be hearing about this singer coming up soon. I truly enjoyed her speech about allowing her culture and traditions to be represented outside her country. Her grandpa told her to never forget where she came from.

The exquisite playing of both piano collaborators was sublime. Ms. Mutalifu was accompanied by Alfira Ahmatjan and all the others were accompanied by Aza Sydykov of the Kyrgyz American Foundation. Kudos to Meche Kroop for presenting this fascinating concert. 

I am thankful for being allowed to write this review. As an Ambassador of Fine Arts and Culture for The United Nations Association of El Salvador, I truly congratulate every single performer for showcasing their country's music, composers, and heritage. Being proud of where we come from is what distinguishes us. But when you truly do it because you love your country and all your heritage, it truly acknowledges that you might leave behind your family, friends and countries far away, but all of them never leave your heart and mind until you meet again.

Mario Arévalo
Founder & Artistic Director
Una Voz, Un Mundo

Goodwill Ambassador for Fine Arts & Culture
United Nations Association of El Salvador, UNA-SV


© meche kroop

HOW CUNNING!

Hyungjoo Eom (photo by Brian Long)

Rachel Hall (photo by Brian Long)

Dell'Arte Opera Ensemble has mounted an incredibly moving production of Leos Janacek's comic/tragic opera which has delighted opera goers for nearly a century. We have written about its origins and composition a number of times and readers are encouraged to enter the title in the search bar if they are curious.

At this moment, however, we prefer to focus on this production, which offered new insights, thanks to the thoughtful direction of Ashraf Sewailam. It is auspicious when a singer takes on the job of directing since he seems to know exactly what to do with the singers onstage. Mr. Sewailam is himself a bass-baritone.


We have seen and enjoyed this opera at least four times in the past couple years but were not prepared for the intense emotional impact of this production. Mr. Sewailam's connection with the piece was unmistakable and, consequently, so was ours. In this battle between the world of mankind and the world of nature, our heroine loses her life in a tragically senseless fashion and the hero is transformed by his experience.

Not only is the cycle of birth, death, and rebirth illuminated but also we are allowed to examine the activities of two-legged creatures through the eyes of those with four (or even six) legs. These creatures are anthropomorphized such that we in the audience get the opportunity to examine our own behavior and to raise vital questions about our existence on this planet Earth.

Power and politics also get explored in a new way. The libretto shows evidence of Marxist thought (the wealthy badger has no right to a big home all for himself when there is room for an entire fox family) and proto-feminism (Vixen Sharp-ears tries to liberate the subservient hens from the domination of the entitled rooster).

There are two scenes of marriage--one between the Vixen and her Fox, prompted by her pregnancy and woodland gossip--the other between the poacher Harasta and the gypsy Terynka. The former union is one of mutual respect and caring, taking place after a very human and tender courtship; the latter union involves the groom "buying" his wife with (what else?) a fox pelt and an act so symbolic and so affecting that we will not divulge it here. We want you, dear reader, to see this opera and experience the shocking act for yourself. It may have something to do with Mr. Sewailam's Egyptian background.

Not only is the storytelling way more compelling than usual, but the musical values were of equal quality in every respect. The sixteen-piece Dell'Arte Opera Ensemble Festival Orchestra responded to David Stech's vibrant conducting of Jonathan Dove's score reduction, giving Janacek's music all the right accents of Moravian folk melodies.

It was quite a feat for the young singers to learn the opera in Czech and our gratitude for this labor is boundless. There is nothing like hearing opera in its original language, and especially so in Czech; the marriage between word and music was as well balanced as that between the Vixen and the Fox!

For those of you who don't know the story, a Forester brings home a fox cub who is subjected to disdain from his wife and beatings from his children. In Mr. Sewailam's version, it is evident that his feelings for her are almost romantic. Like a bereft lover, he becomes angry when she runs away and keeps looking for her.

She falls in love and starts a family. She is strong, independent, and defiant. She outwits the poacher Harasta but eventually he shoots her and takes her pelt for his bride.  The Forrester grieves for her but consoles himself with nature and his awareness of the life cycle.

We haven't heard soprano Rachel Hall since her apprenticeship at Santa Fe Opera four years ago when we applauded her Norina. Her artistic growth is notable and we enjoyed her warm and rich soprano in the title role. Her phrasing honored the sound of the language and her acting was completely committed.

As the Forrester, we admired bass-baritone Hyungjoo Eom for his affecting portrayal as well as for his substantial sound. We have heard him a number of times in the past couple of years and have been impressed by his versatility.

We enjoyed soprano Stephanie Kim Johnson in the role of the Vixen's mate. Although the role is generally performed by a mezzo, there was still a nice contrast with Ms. Hall's voice and a meaningfully tender portrayal.

Summoned at the last minute as a replacement for the role of the Dragonfly was Brittany Goodwin, director of La Calisto (which we will see tonight).  That girl can dance! So much talent in such a petite person!

Tenor Jeremy Brauner made a fine Schoolmaster, garnering laughs as he stumbled home drunkenly with his cane, confusing a sunflower for the lusted-for Terynka. He was even funnier as a mosquito, thanks to some clever use of props.

Soprano Zoe Marie Hart (well known to us from Utopia Opera) did well as the young Vixen. As the family dog Lapak, mezzo-soprano Inbal Milliger created a believable canine and sang with substantial tone.

Harasta, the devious poacher,  was sung well by baritone Joshua Miller.

Kristi Esch successfully employed her deep voice to portray the Forrester's disagreeable wife. Bass Brian Alvarado doubled as the grumpy Badger and the Greek-quoting Parson who once had a secret love.

Camilo Estrada took the role of Pasek, the tavern keeper; his wife Paskova was sung by Lisa Flanagan who also played the humorous hen Chocholka.

The singers who took on several small roles were also fine, including Samantha Scully, Lauren Glaves, Sarah Daniels, and Lisa Flanagan.

Much credit for the success of the production goes to Costume Designer Claire Townsend who put streetwear to good use by mixing pieces eclectically and cleverly to create costumes that worked well and suited each character. Makeup and Hair Design by Georgina Eberhard completed the illusion.

Scenic Designer You-Shin Chen made much of little--some hedges and a ramp, a table and chairs. It was the clever use of props that put us into a world of make-believe.

Were you waiting for the obligatory quibble?  Here it is. Harasta's use of a pistol seemed wrong, as did the one-time use of iPhone and iPad.

There will be two more performances--Friday night and Sunday matinee. You would do well to try to snag a ticket for this illuminating production. You may leave at the end with tears in your eyes (as we did) but they will be blissfully cathartic.

(c)  meche kroop

MANHATTAN OPERA STUDIO--NO GROWING PAINS

Hyungjoo Eom, Sigal Chen, Roselin Osser, Alyson Sheehan, Aaron Halevy, Christian Kas, Rocky Sellers, Cassie Machamer, Matias Moncada, and Lisa Parente

We have cherished Mozart's Nozze di Figaro perhaps more than any other opera. We have probably seen and heard it more than any other opera. Do we care if the production says anything new about the opera?  No, we don't! We are totally content to hear the music afresh each time, to hear the care Mozart lavished on limning each character and the humanity expressed in Lorenzo Da Ponte's libretto.  Each character is flawed but loveable.

Last night's iteration was presented by Manhattan Opera Studio which we were introduced to last summer in a performance of Hansel und Gretl (review archived and found through the search function). This summer training program for young artists has grown rapidly from performing at Scorca Hall to the much larger and more comfortable theater that was formerly occupied by DiCapo Opera. The small orchestra which was squeezed into Scorca Hall now numbers 19 and occupies a proper pit, giving conductor Keith Chambers plenty of room to conduct an orchestra comprising many instrumentalists that play under his baton at New Amsterdam Opera.

Once upon a time we asked a famous symphony conductor where was the best place to sit.  He replied, "As close to the conductor as possible". So it was that we decided to sit just behind Maestro Chambers on the front row, getting a first rate view of him and the musicians in the pit. This provided new revelations of just how marvelous Mozart's orchestration is and just how effective Maestro Chambers' conducting is. His style is restrained and not at all theatrical and there is a terrific rapport with the instrumentalists.

Kudos to Leesa Dahl for the harpsichord accompaniment to the recitativi.

The singing was excellent and gave evidence of some fine coaching. The acting revealed the fine hand of Stage Director Walker Lewis. We always appreciate the bits of stage business that make the characters seem like people we know personally rather than caricatures.

Pride of place goes to the eponymous Figaro, brought to vivid life by Matias Moncada. His characterization was so astute that we almost neglected to note his fine singing.  His fine rich sound was differentially colored since Figaro has different feelings for his bride Susanna than he does for his arrogant boss. Just listen to how the color changes when Marcellina is known to be his mother and not an unwelcome creditor!

As Susanna, Lisa Parente created a sweet spunky character, smart enough to help her Figaro to foil those who would block their marriage. With blond braids and a petite figure, she looked absolutely perfect for the part. Her voice is a bit on the smallish side, but Maestro Chambers kept the orchestra down and her Act IV aria "Deh vieni, non tardar" was well done.

As Count Almaviva, Hyungjoo Eom made a fine foil, an arrogant and entitled aristocrat with designs on Susanna. He gets baffled and outwitted a lot. Mr. Eom used dynamic variation and vocal coloration to express his many moods. His arrogance and lechery made us think of Trump; this self-induced connection was far more valuable than if the director had placed him in a red wig! We object when directors try to spoon feed us!

As the neglected Countess, Sigal Chen sang with a rich full soprano that was notable for some impressive legato and beautiful phrasing. For most of the opera she is either depressed or disgusted with her husband's philandering and her two major arias ("Porgi amor" and "Dove sono") were appropriately colored. It was lovely to hear her voice change at the end when she forgives her wayward husband.

Mozart ensured that each major character got at least two arias and so we heard Roselin Osser as Cherubino perform "Non so piu" and "Voi che sapete". The acting she did with her body truly amplified the character but we wish she had not mugged quite that much.

We enjoyed the Marcellina of Cassie Machamer and were absolutely thrilled to hear her Act IV aria "Il capro e la capretta" which is very rarely included these days. This would make a fine stand-alone audition piece for her.

Rocky Sellers' Bartolo made a fine impression and he created a character not as stuffy as he is usually made out to be. He too has an Act IV aria that is rarely heard and we were glad for the opportunity to appreciate his fine voice. He showed special skills in the patter singing.

Aaron Halevy made good use of his tenor and mobile body to create a Don Basilio that was more colorful and humorous than loathsome in his gossiping. We barely recognized him in the role of the sober notary Don Curzio.

Alyson Sheehan made a sweet Barbarina and Christian Kas was very funny in the role of the bibulous gardener Antonio who unwittingly nearly foils the elaborate plot of Figaro, Susanna, and the Countess.

The singers performed exceptionally well in the ensembles, particularly the quartet in Act II.  Ms. Chen and Ms. Parente sounded exquisite together with their two very different timbres.

The singing and acting were so impressive that we scarcely missed the lavish sets that are generally employed.  A few packing cartons indicated the room Figaro was measuring for the marital bed (and, in a cute directorial touch, measuring Susanna). The Countess' room needed only a desk and a chair for Cherubino to hide behind. The garden was represented by some tall poles standing in for trees.

That the costumes were contemporary streetwear was disjunctive since aristocracy and the custom of droit de seigneur belonged to the 18th c. We can understand the decision made for budgetary reasons and overlook the issue. It would appear that the singers chose clothes from their own closets that would best express their character's station in life.

Susanna's simple white blouse and skirt were a good choice. The Count's suit and tie seemed right, with Figaro's more casual attire illustrating the difference in their station. Bartolo's outfit fell in the middle but we couldn't understand what was intended by the white lines painted under his eyes and across his scalp.

Basilio's get-up was sufficiently "rainbow" and Antonio's garb was perfect for a working man. Cherubino's outfit just seemed wrong with a particularly unflattering hat. And we wished that the Countess' cocktail dress had been more on the elegant side.  No big deal, just sayin'.

The Italian was so well sung and the acting so effective that the lack of titles was not at all distressing, although we imagine that some people in the audience felt the absence.

All in all, it was a terrific evening; we would have been happy to see it once again the weekend of August 11th, along with The Magic Flute, which will alternate.  But we will be reviewing opera in Santa Fe.

If you love Mozart, put it on your calendar!

(c) meche kroop