A STYLISH PINAFORE

 Maestro William Remmers and the cast of Utopia Opera's H.M.S. Pinafore

There are two types of people in this world--those that love Gilbert and Sullivan and those who do not know their works. Darlings of the Victorian Age, Arthur Sullivan's tuneful music and W.S. Gilbert's clever lyrics enchanted audiences on both sides of the Atlantic, transformed musical theater forever, and inspired countless pirated versions, versions for children, and even a version in Yiddish.

The richness of Sullivan's musical invention has inspired more musical analyses of key changes than we can absorb and Gilbert's satire encompasses the British class system, the patriotism of the British empire, the two-party system, and the conventions of opera. Musical quotations and plot satires abound. As just one example, the switching of babies recalls Verdi's Il Trovatore.

We have no doubt that their work appealed to each of Great Britain's social classes for different reasons, which accounts for their popularity. Indeed, their works offer something for everyone. They originated the use of naturalistic scenery and costumes; engravings from that period are charmingly detailed.

Such sets and costumes were missing from Utopia Opera's production this weekend of H.M.S. Pinafore but the musical values and enthusiastic performances made up for the lack. We do not know any theatrical production off-Broadway that offers equal bang for the buck. Proof of the proverbial pudding could be seen in the full house and rapturous applause of the audience, augmented by a generous quantity of whooping and hollering.

One feature which made us very happy was the projected titles, allowing us to appreciate the extraordinary cleverness of Gilbert's libretto. Certain arias are so famous ("I'm called Little Buttercup" and "I am the Captain of the Pinafore") that we know them by heart; others are less well known but were found to be equally memorable. Minus sets and costumes we were free to focus on the music and the text.

If anyone reading is not familiar with the story, it takes place on a vessel of the Queen's Navy (satirically named after an article of female clothing). The 

Captain (played by renowned interpreter of the role Richard Holmes) has a lovely daughter (Christina Krawec) who he would like to marry off to The Right Honorable Sir Joseph Porter, KCB First Lord of the Admiralty (played by Maestro William Remmers himself). Naturally, the girl is in love with a "common sailor" named Ralph Rackstraw (Jeremy Sivitz) but he is an unsuitable match by virtue of his "lowly social class".

The couple plan to elope but their plan is foiled by the nefarious Dick Deadeye 

(Benjamin Spierman). The deus ex machina is provided by Little Buttercup (Stephanie Feigenbaum). Of course, Jack will have his Jill and everything ends happily.

Every moment of the production was worthwhile but a few scenes stand out, largely involving the rubber-bodied Maestro Remmers who managed to conduct the sizable orchestra and portray Sir Porter simultaneously with the mere addition of a cap. This would suggest a very special rapport with the orchestra and some anticipatory rehearsal. Remmers' delivery of "I am a Monarch of the Sea" was classic; the text refers to one W. H. Smith, a politician who had recently been appointed First Lord of the Admiralty despite having neither military nor nautical experience.

In an atypical arrangement, the 18 members of the orchestra were situated upstage with the singers downstage. The orchestra comprised the usual string quartet plus string bass and a very competent wind section--a. pair of flutes, an oboe, a pair of clarinets, a pair of cornets, a bassoon, a pair of horns, a pair of trombones, and a percussionist.

We enjoyed the chorus of sailors and particularly admired the voices of Henry Horstmann as the Bosun's Mate and Jonathan Fox Powers as the Carpenter's Mate.

The female chorus did a fine job as the "Sisters, Cousins, and Aunts" who accompanied Sir Porter. Some of the funniest moments of the show involved a particularly intrusive Cousin Hebe (Angela Scorese) whom Sir Porter kept trying to silence and dismiss.

Much of the humor comes from watching characters taking themselves seriously in such preposterous circumstances. We can only imagine the delight experienced by the audience in 1878!

The complicated history of this career-making comic opera is fascinating but way too detailed to get into here.  Likewise the strained interaction between Gilbert and Sullivan which was depicted in a highly recommended film a quarter centry ago by Mike Leigh entitled Topsy Turvy.

© meche kroop

ORANGE BLOSSOMS

JoAnna Geffert, Jonathan Fox Powers, Sarah Caldwell Smith, David Seatter, Joanie Brittingham, Bray Wilkins, Alexa Devlin, and Drew Bolander

Victor Herbert Renaissance Project Live! is focusing its fifth season on (hold your breath)...LOVE! And we just loved its production of Victor Herbert's 1922 "play with music" Orange Blossoms. Artistic Director Alyce Mott has called upon her usual literary magic to adapt the libretto written by Fred De Gresac (the gifted female librettist responsible for several of Herbert's best works.

Ms. Mott has called the work a "play with music" because it lacks an overture and no grand finale. That's putting a rather fine point on it since the work has all the sparkling melodies we want in an operetta and a typically silly but enchanting plot.

Lawyer Brassac (played by David Seatter, the always splendid veteran performer of operetta) has a lovely but penniless goddaughter named Kitty (played by the charming VHRPL! regular Joanie Brittingham. She won the hearts of the audience with her ballad "A Kiss in the Dark" in which she recalls a man who won her heart and vanished.

He also has a client/friend, the pompous Baron Roger Belmont (played with high humour by company regular Bray Wilkins). Have you guessed who her vanishing lover might be?

Baron Belmont is engaged to the histrionic and affected Helene De Vasquez (performed in high camp by Sarah Caldwell Smith) but cannot marry her because he will lose his inheritance. It is up to Brassac to find a solution and he does. He plots to marry off his goddaughter to the Baron in a mariage blanc. 

The Baron will support Kitty in fine style and then, having secured his inheritance, will divorce her and marry his demanding Helene. Pretty racy for 1922! The plot twists and turns are enhanced by clever lyrics set to memorable melodies.

The principals sang beautifully and were convincing in their portrayal of stereotypes, enhancing their portrayals with individualizing quirks.

As if that weren't enough, the plot is rounded out with some delightful characters who were also perfectly portrayed. Alexa Devlin, using an hilarious Brooklyn accent, enacted the secretary Tillie. Her inamorata Jimmy Flynn was performed by company regular Drew Bolander who works for the jealous Helene as a detective, pretending to be a gardener who talks about thorns on the carnations!

The always wonderful Jonathan Fox Powers made a fine and funny butler Auguste, flirting with Ninetta, the maid, played by JoAnna Geffert. A duel between Auguste and Jimmy had us in stitches.

Not only does Ms. Mott do an excellent job of modernizing the spoken dialogue, but she also directs with a firm hand. The company choreographer Emily Cornelius staged some lovely numbers for the chorus, comprising Jenny Lindsey, Alexa Clint, Elisabeth Slaten and Susan Case (various clients of Brassac) and their suitors (Colm Fitzmaurice, Quintin Harris, and Keith Broughton).

Maestro Michael Thomas kept the music flowing whilst William Hicks provided the piano accompaniment. We started out placing stars next to our favorite musical numbers but wound up starring everything!

We loved the funny duet between Tillie and Jimmy--"New York is the Same Old Place" in Act I--almost as much as we enjoyed their Act II duet "Way Out West in Jersey". Mr. Bolander had a frisky and funny solo as well, entitled "J.J. Flynn".

The ensemble had a great number as well--"Let's Not Get Married" with the line "That's where happiness ends".  Oh, those Roaring Twenties!  We have a feeling that Herbert got them off to a roaring start!

We don't ever want to miss any of VHRPL!'s productions so we have already entered them in our calendar.  And so should you! "Falling in Love" will be scheduled for February 26 and 27. "Sweethearts", which also has a libretto by Fred De Gresac, will be scheduled for April 30 and May 1.  All performances are at Christ and St. Stephen's Church and tend to sell out. Don't miss your chance for these highly entertaining evenings.

(c) meche kroop

PASSION

Elizabeth Bouk and Jonathan Fox Powers in Sondheim's PASSION at Utopia Opera

Most people enjoy having their opinions validated and we are no exception.  In the Director's Notes for Sondheim's Passion, presented by the reliably adventuresome Utopia Opera, Benjamin Spierman eloquently addresses the issue of opera vs. musical theater. We are in complete agreement that any division is unnecessary and only results in contentious discussion. Drama with music, when sung by classically trained singers without amplification qualifies a work as "opera" in our opinion.

One of the distinguishing features of "opera" is that it is passionate.  People die for love, kill for love, and live on the edge.  That is why opera is the perfect antidote for our "whatever" age, marked by indifference and irony.

The very title of Sondheim's work tells us so.  The story was adapted from Ettore Scola's film Passione d'Amore, itself adapted from the 19th c. novel Fosca by Iginio Ugo Tarchetti. The renowned James Lapine wrote the book. 

The story concerns a young military officer whose pity for his Colonel's sickly cousin ends up becoming love. Fosca is a disagreeable and demanding woman with a sad past and she stalks Captain Giorgio Bachetti obsessively until she wins him over.

That he has a romantic and sexual relationship with Clara, a woman he adores, does not stop Fosca from throwing herself at Giorgio without reservation or reason, sacrificing all dignity in the process.

Elizabeth Bouk was convincing as Fosca, somehow hiding her natural beauty to portray a woman who believes herself to be homely. It was satisfying to watch her blossom when she succeeded in winning Giorgio's love.

Giorgio was well enacted and sung by Jonathan Fox Powers who showed us his character's inner kindness but also his attempts to firmly reject Fosca's initial advances. His fine voice suited the part well.

We particularly enjoyed Dennis Wees' portrayal of Colonel Ricci, so protective of his unfortunate cousin and so angry when he believes that Giorgio has taken advantage of her. He also has a fine voice and employs it well.  

Actually, the encounters between Giorgio and Fosca were set up and encouraged by Doctor Tambourri, played rather woodenly by Jack Anderson White.

As Clara, Giorgio's married lover who loves with the necessary restrictions of a married woman who stands to lose her child in 19th c. Italy, Paige Cutrona was barely audible except when she employed the upper end of her register where she had an attractive sound. The spoken dialogue and lower notes could not be heard.

Mr. Spierman himself appeared as Fosca's father, in flashback, with Hannah Spierman portraying her mother with a fine sizable sound. Also seen in flashback was the "Count" Ludovic (Jonathan Price) who took advantage of Fosca which probably led to the decline in her health.

Comic relief was provided by the military men who gathered over meals and billiards, commenting on the action like a Greek chorus. Performers were Ray Calderon, Benjamin Herman, Platon Vavylis, Nick Miller, and Ross Schwaber.  It was in these scenes that Sondheim's familiar wordplay was most in evidence.

The music is through-composed with several impactful duets. Most of the arias involve the reading of letters written by Giorgio to Clara and by Clara to Giorgio. We hear Sondheim reaching for something grander in this work, arguably his most operatic creation. Under the baton of Artistic and Music Director William Remmers, the orchestra played well.  On the audience level we had a string quartet plus bass and two keyboards. On stage and off to the side, as usual, we had a pair of horns, a trumpet, percussion, and four wind players who alternated among oboe, English horn, clarinet, and flute. 

Originally Jonathan Tunick composed the lush orchestration and we have no evidence that this was changed for Utopia Opera's production. The score is definitely worth a repeat hearing.

Speaking of repeats, you will have a couple opportunities to catch this chamber opera. There is a matinee today and another on Sunday and an evening performance tonight at 8:00.  The work is seldom produced and we encourage you to seize the opportunity.

(c) meche kroop

WHAT TO DO WITH A POLYMATH

Sheena Ramirez, Jonathan Fox Powers, Richard Holmes, William Remmers, Erica Rome, Emily Geller, Victor Ziccardi and Cristiane Young

One of the songs from Gilbert and Sullivan's Iolanthe concerned one De Bellville, a polymath who was "kicked upstairs" to the House of Lords after delivering "inconvenient speeches" on the floor of the House of Commons.  Sadly, this song has been lost to us but we have our very own polymath on hand in the person of William Remmers.

Mr. Remmers founded Utopia Opera three years ago and currently occupies positions as Stage Director and Music Director.  Moreover he was favorably reviewed by us for his conducting of Der Freischutz.   Last night as host of the Second Annual Fundraising Gala at the National Opera Center, he greeted the audience and then joined the terrific pianist Erica Rome for the four-handed overture, and then sang the role of The Lord Chancellor.  We have nothing but good things to say about his fine voice and acting and his very funny style.  He is unique.

The production itself was an absolute delight.  Gilbert and Sullivan always strike us as the Rogers and Hammerstein of the 19th c.  Contemporary composers could certainly take a page from their book!  How rare it is to have artists who understand how to make the most of the English language.

Iolanthe was written at the height of their popularity and skill, the seventh of fourteen collaborations.  It is an hilarious satire of British politics that is, in many ways, relevant to our very own Congress and the recent Occupy Wall Street movement.  In this comic opera, a simple shepherd Strephon is in love with Phyllis, the ward of The Lord Chancellor who wants to marry her himself.  Does this perhaps remind you of, say, Il Barbiere di Siviglia?

Strephon, sung by the fine baritone Jonathan Fox Powers, is the 25 year-old son of the fairy Iolanthe and a mortal (guess who!). Iolanthe has been banished by the Queen of the Fairies for breaking the fairy law against just such a union.

The lovely Phyllis, performed by the fine soprano Sheena Ramirez, doesn't believe that Iolanthe could be Strephon's mother because, as a fairy, Iolanthe doesn't age and appears to be but 18 years old. In the revelation scene we couldn't help thinking of the similar scene in Nozze di Figaro when Suzana repeats "Su madre?  Su madre?".  In the title role, mezzo Emily Geller sang superbly and created a most sympathetic character.

There are many twists and turns in the plot and lots of memorable melodies.  We cannot forget the male chorus' rendition of "Loudly Let the Trumpets Bray".  The diction was so fine that we will excuse the chorus members who sang holding their scores.

The Lord Chancellor entered to music sounding very much like a tribute to Bach and Mr. Remmers' patter songs brought grins from ear to ear.  We loved "When I Went to the Bar" especially the repeated phrase "Said I To Myself, Said I".

Ms. Ramirez and Mr. Powers had some beautiful love duets and Ms. Geller was very moving in her solo "My Lord, a Suppliant At Your Feet".  As Queen of the Fairies, contralto Cristiane Young provided comic relief at every turn. Simply to hear her repeating the word "frogs" with various intonations was enough to send us into the LMAO state.

Three very graceful and spirited young women, Kelsey Peters, Eva Parr and Laura Yumi Snell were perfectly cast as the fairies Celia, Leila and Fleta.  They not only sang but had some charming ballet moves as well.

Richard Holmes sang the role of the Earl of Mountararat and Victor Ziccardi performed the Earl of Tolloller.  The two were very amusing as they competed for the position of Phyllis' nobly born husband.  Robert BK Dewar was Private Willis of the Grenadier Guards.

The costumes were lovely and apropos.  There was no set except for what one created in the eyes of the mind, but none was needed. With acting and singing that fine, nothing was missed.

This is the only opera company we know of that lets their audience choose the operas.  The last one of this season will be Verdi's Falstaff on June 27th and 28th.  Next year's choices are Carlyle Floyd's Susannah, Rossini's L'Italiana in Algeri, a double bill of Sullivan's comedy The Zoo (WHAT?  NO GILBERT) with Ravel's L'Enfant et les Sortilèges and finally Strauss' Ariadne auf Naxos.  Get on board soon to avoid missing out.

© meche kroop

A SWEETHEART OF A SHOW

We confess to having been ignorant of the glories of operetta until recently; now we cannot get enough.  Victor Herbert's Sweethearts, while never one of his more famous ones, is chock full of delights to the eye and ear.  Light Opera of New York gave this charming work a fine production, using a revised libretto by Alyce Mott and the late Dino Anagnost.

The silly but enormously entertaining story concerns a royal infant put into the arms (well, into the tulip patch) of the worthy Dame Paula (Vira Slywotsky) who runs a laundry in Bruges under the name of Mother Goose with her daughters whom she calls "goslings".  The child's birth country has survived a revolution and is now calling for the return of the monarchy.  Will the child, now a beautiful young woman, be discovered and returned to the throne or will the handsome prince (Peter Kendall Clark) be crowned instead?  Well it all works out in the end in spite of the machinations of the spiteful Liane (Stefanie Izzo) , the scheming playboy Lieutenant Karl (Eapen Leubner), the rascal Mikelovsky (Victor Khodadad) and other assorted fortune hunters.

The action is narrated by Dame Paula and Ms. Slywotsky was as effective dramatically as she was vocally.  The two romantic female leads were equally fine although we thought Ms. Xanthopoulu might have played her part with a bit more innocence to contrast with the worldly wise nastiness of Ms. Izzo.  Mr. Kendall Clark made a fine princely male lead with a fine resonant voice and Mr. Leubner was appropriately cast as a military man.  There was not a vocal weak link.

The role of Von Tromp was played by Jonathan Fox Powers and David Seatter was a very funny Slingsby--both excellent.  The four "goslings" made some marvelous music together--Samantha Britt, Katherine Corle, Eva Giorgi, and Gillian Hassert.  The four soldiers were played by Brian Long, Christopher Nelson, Adam Strube and Miguel Angel Vasquez.

Director Gary Slavin did a commendable job making sense of this screwy story and moving people around a small stage with no scenery to speak of.  Wisely, the work was presented "straight" and with consummate respect; there was not a whiff of condescension.  Costumes by Stefanie Genda were colorful and well suited to the time (beginning of the 20th c.) and place.

Mr. Herbert's frothy music, under the direction of Conductor Michael Thomas was glorious.  The tunes are delightfully melodic, many of them in waltz-time.  We heard echoes of Gilbert and Sullivan and even a song that foreshadowed Sondheim.The small orchestra comprised Jeremiah Oliver at the piano with violin, cello, bass and flute making valuable contributions to the texture; notable was the variety of percussion effects played on a variety of instruments. 

LOONY is a perfect example of a small company that does much with limited resources.  There was nothing about the production to suggest economy; we don't know how they did it but they did it.  We will be sure to augment next year's opera-going with some operetta-going!

© meche kroop