PROTEST!

(seated) Steven Blier and Jack Gulielmetti
(front on left side) Shereen Pimentel and Christine Taylor Price
(back row) Jacob Scharfman, Joshua Blue, Dimitri Katotakis, Andrew Munn, and Rihab Chaieb

At the end of last night's concert of protest songs, Maestro Steven Blier uttered his first words, "Garbo Speaks". The consequent laughter was related to the absence of his customary narration and anecdotal contributions.  This time, M. Blier wanted the songs to speak for themselves.  They did speak--they more than spoke; they lamented, they howled, they challenged negativity.

This New York Festival of Song show was originally presented at Juilliard and at Henry's Restaurant as part of their Sing for Your Supper series, staged by the terrific director Mary Birnbaum.  It deserved a wider audience and was therefore presented last night at Merkin Hall once again, this time directed by Mo Zhou, who did a great job of moving the artists around the stage and adding gestural meaning to the material.

The theme resonated with the audience, inasmuch as we have so much to protest in today's political climate. Perhaps the most vociferous applause was in response to Woody Guthrie's unpublished "Old Man Trump". As we know, POTUS comes from a real estate family and his father was the racist landlord mentioned in Mr. Guthrie's song; Guthrie was incensed when Trump tried to keep Beach Haven white. The mid 20th c. song was performed by baritone Dimitri Katotakis, beginning a capella, then joined by Jack Gulielmetti's guitar.  At one point he played the harmonica!

Another very powerful song was the ballad "Joe Hill", written by Alfred Hayes and Earl Robinson and performed with great depth of feeling by bass Andrew Munn who "mined" his real life experience in Appalachia to give the song a very present quality that struck us right in the gut.

Accompanied by Mr. Blier's very bluesy piano, tenor Joshua Blue began his very personal performance of Fats Waller's "Black and Blue" (lyrics by Andy Razaf) with a feeling of puzzlement that grew in power before reaching the anguished climax.

Jacob Scharfman impressed with his full low voice, lending gravity to "The Lavender Song" by Mischa Spoliansky and Kurt Schwabach; a high voiced campy delivery would have undermined the intense message of the song but Mr. Scharfman's body movement made it clear that the song was about self-expression of the marginalized homosexual community--a half century before the Stonewall Riots.

We have saved the ladies for last. Soprano Shereen Pimentel brought back personal memories with her performance of Joni Mitchell's "Big Yellow Taxi" which we actually experienced in Canada sung by Joni Mitchell! She truly did the song justice and we loved the backup group doing the "doo wop"--Mr. Katotakis, Christine Price, and Rihab Chaieb.

Soprano Christine Taylor Price preceded her performance of Bernstein's "A Julia de Burgos" by reciting Burgos' poetry with such apt dramatic intent that we understood the song for the first time. We knew Burgos was a feminist poet from Puerto Rico and we have heard the song a few times without "getting" it.  All it took was a true vocal and dramatic artist to get it across!

The very talented mezzo-soprano Rihab Chaieb sang "A Prayer to the New Year" in Arabic. It was the most contemporary piece on the program; the text by Fadwa Tuqan was set by Mohammed Fairouz and we found it inspirational. We wish it had been the final piece on the program because it left us with hopeful feelings for the future.

Many feelings were expressed over the course of the short program. "El Cambalache" by Enrique Santos Discépolo was translated into English by William Bolcom and Mr. Sharfman brought out every ounce of cynicism, making it the most contemporary of the offerings.

Other songs we heard protested fascism in Mussolini's Italy and in Argentina. The refugee situation and exile were addressed as well as racial and religious discrimination and the despoiling of our environment. There is so much to protest!

Do we need to tell you how superb all the voices were and how heartfelt the performances? The entire cast joined in for the encore, Jane Ritchie's "Now is the Cool of the Day" sung by the entire cast in beautiful harmony and a capella. Like most strophic folk tunes, it lingers in the ear.

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MAESTRO YANNICK NÉZET-SÉGUIN'S MASTER CLASS AT JUILLIARD

Jacob Scharfman, Onadek Winan, William Guanbo Su, Dominik Belavy, Kathryn Henry, Meghan Kasanders, John Chongyoon Noh and Maestro Yannick Nézet-Séguin (photos by Claudio Papapietro)

Yesterday's Master Class at Juilliard was somewhat of a departure from the typical master class for singers. The audience was welcomed by Brian Zeger, Artistic Director of the Vocal Arts Department. He prepared observers by saying that this would not be a one-on-one event with an individual getting coaching on a prepared aria. It would be a renowned conductor (Music Director elect of the Metropolitan Opera) teaching Juilliard Singers how to perform in an ensemble.

The Maestro is a highly engaging presence, filled with humor as well as prodigious artistic knowledge and experience; it was deeply satisfying to witness how the students trusted his judgment and followed his suggestions.

The highlight of the class was the septet from Act I of Mozart's Don Giovanni. This highly elaborate piece of writing makes different demands on each singer. Each character has a different intention.

Donna Anna (soprano Meghan Kasanders) and her intended Don Ottavio (tenor John Chongyoon Noh) are praying for divine protection in "Protegga il giusto cielo". The maestro suggested more direction from Ms. Kasanders. Donna Elvira (soprano Kathryn Henry) needed more "fire".

The rapid-fire duet between Don Giovanni (baritone Dominik Belavy) and Leporello (bass William Guanbo Su--being reviewed for the third time this week!) was greatly improved when the two of them got in rhythm and in tune with each other. 

Zerlina (soprano Onadek Winan) needed to exhibit repressed anger. Masetto (baritone Jacob Scharfman) was helped to get into character and coached to put different colors and emphasis on the repeated "Va bene!".

We confess that we were happy with the first run through but after hearing the improvements we were thrilled. The gifted pianist Michal Biel can always be counted on to accompany skillfully.

We also got to hear two different singers perform the roles of Donna Anna and Don Ottavio in their first act duet "Ma qual mai s'offre oh Dei...Fuggi crudele, fuggi". Their voices were magnificent! They were coached to trust Mozart's dynamics (didn't we just hear that at last night's master class?). Jinhee Park did her customary fine accompaniment on the piano.

Subtle changes can make a big difference and we agree with the maestro that the singer must draw people in. Much of the work was on using the breath to amplify the gestures.  Used judiciously, it can be used to highlight emotional breathlessness.

We also enjoyed the coaching for the marriage scene from Gounod's Roméo et Juliette. Soprano Tamara Banješević was encoouraged to be an excited 14 year old girl. The entire scene needed to be more intimate and less "ceremonial".  Vocal colors were encouraged to avoid a "four square" sound. Too many singers establish a color and then abandon it too soon. 

Bass Alex Rosen made a fine Friar Lawrence and tenor James Ley did well as Roméo with mezzo-soprano Myka Murphy portraying Gertrude. Art Williford accompanied beautifully.

The class closed with some questions from the audience and some general remarks from the maestro about how exceptional vocal and language preparation allows the singer the freedom to personalize his/her performance. The result is the alignment of heart and mind. We couldn't agree more!

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THE GARDEN OF JUILLIARD

Christine Taylor Price, Marie Engle, Joshua Blue, Tamara Banješević, and Jacob Scharfman (photo by Hiroyuki Ito)

Mozart was just shy of 19 years of age when he composed La finta giardiniera which premiered in Munich in 1775. In spite of a trivial libretto (insecurely attributed to Calzabigi), one can readily appreciate Mozart's exuberant melodic invention and skills at orchestration. The opera achieved but 3 performances and fell out of the repertory until a copy of the score was rediscovered in the 1970's.

That we have seen the opera three times in two years gives some indication of the many glories of the score and the challenging roles it provides for seven singers. The seven we heard last night at Juilliard Opera seemed to enjoy their performances as much as we in the audience did. What vocal glories!

We love to see romantic foibles onstage--the mismatches, the betrayals, the fights, the reconciliations. We have no need for modern sets or costumes to recognize our own passions and obsessions.  The blind child shoots those darts and we are helpless.

The Marchioness Violante Onesti (splendid soprano Tamara Banješević) had been stabbed by her jealous lover Conte Belfiore (terrific tenor Charles Sy) on their wedding day. Left for dead, she recovered, took the name of Sandrina, disguised herself as a gardener, and sought refuge by gaining employment at the estate of the Podesta Don Anchise (tremendous tenor Joshua Blue) who has fallen in love with her.

The Podesta's housekeeper Serpetta, portrayed by the gifted soprano Christine Taylor Price, would like to marry her boss and fights off the courtship of the gardener Nardo, Violante's servant Roberto in disguise--a role delightfully inhabited by Baritone Jacob Scharfman.

Meanwhile, the Podesta's bossy-pants niece Arminda (glorious voiced soprano Kathryn Henry) arrives at the estate to be joined in matrimony with none other than Belfiore. If we could overlook his tendency to commit violence on his brides, we might even feel a tinge of pity for the ambivalent count. He thinks he recognizes Violante in disguise but she denies her identity.

In the role of Cavalier Ramiro, Arminda's rejected suitor, we heard the marvelously convincing mezzo-soprano Marie Engle in travesti.

To make this crazy mixed up story clear, we had the talented young director Mary Birnbaum who has a very special way of getting her cast to work as an ensemble and to interact in believable ways, no matter how preposterous the story.

The first act moved along at a lively clip but there was a scene at the end of the second act that baffled us and our companion. It is the scene in which Belfiore goes mad and Violante gets kidnapped by Arminda (or was it vice versa?). When Tim Albery directed this opera at Santa Fe Opera, it didn't make much sense either and when Eric Einhorn directed it for On Site Opera, he omitted the scene entirely which was probably the best choice!

Both Ms. Henry and Ms. Prize dazzled us with their coloratura but the aria we remember best belonged to Ms. Engle who managed the extensive fioritura while conveying masculinity at the same time in "Va pure ad altri in braccio". Not only does everyone get an aria but there are interesting ensembles that foreshadow Mozart's later works.
 

Another memorable moment was Nardo's courting of Serpetta in several languages; Mr. Scharfman was irresistible in the role.  Mr. Blue pompously strutted around the stage but also conveyed the manner of a kind man. Ms. Henry did a great job creating a real bitch of a character. We loved the moment when she arrived with a horse and her servant Giuseppe (bass William Guanbo Su).

The Juilliard Orchestra performed in their usual exemplary fashion under the baton of Joseph Colaneri who brought subtle understanding to the various and changeable moods of the work. The continuo comprised Michael Biel on the harpsichord and Clara Abel on the cello.

Much favorable comment could be devoted to Amanda Seymour's luscious period costumes and even more to scenic designer Grace Laubacher's witty sets. After a clever prologue in which Joan Hofmeyr and Olivia McMillan portrayed two gossipy housemaids relating the backstory in English (another one of Mary Birnbaum's clever inventions), servants carried in trompe l'oeil set pieces. Even the horse was two dimensional but reared convincingly.

Lighting Designer Anshuman Bhatia spared no effort in changing the mood; one scene takes place in near darkness and the ensuing confusion reminded us of the final act of Nozze di Figaro.

Once again, Juilliard Opera has given us a memorable evening in which superlative production values provide a setting for the splendid singers--the jewels of Juilliard.


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THE BEST FREE SHOW IN TOWN

Chris Reynolds, Yoon Lee, Natalia Katyukova, Jessica Niles, Nathaniel LaNasa, Kady Evanyshyn, Jacob Scharfman, Anneliese Klenetsky, and Ji Yung Lee

We really missed the Liederabend programming at Juilliard over the summer and are happy to note that the program got off to a stellar start yesterday with a magnificent program, curated and coached by Natalia Katyukova, accompanied by Chris Reynolds, Yoon Lee, and Ji Yung Lee. Over the past few years we have watched the audience grow from a smattering of lieder lovers to a throng. This fame is well deserved. One could not have found a better recital at any price.

It was admirable that each of the four featured singers took the stage with confidence, introduced her/himself, and told enough about their chosen work so that we in the audience could appreciate their involvement. We wish more recitalists did the same. A singer of lieder is a conduit through which the poet speaks and the composer resounds. Their individual interpretations can give new life to familiar works or introduce us to material that may be new to us.

Mezzo-soprano Kady Evanyshyn opened the program with five lovely songs by Clara Schumann. This is a composer who speaks  (sings) to us with Austrian Romanticism in full flower. Readers know how much we love melody! It was obvious from the first note that Ms. Evanyshyn loves Clara's music as much as we do. We are always elated to see her somewhat overlooked oeuvre on a program.

The wise choice of text goes halfway toward making a memorable song. Heinrich Heine's text is almost always a great choice. "Ich stand in dunklen Traumen" is a mournful tale of love and loss while "Sie liebten sich beide, doch keiner" is a more ironic story of love never realized--perhaps an even greater loss.

"Die Lorelei" is one of Heine's horror stories and allowed Ms. Evanyshyn and her collaborative pianist Ji Yung Lee the opportunity to indulge in totally different coloration with the rippling in the piano suggesting the waves and both artists conveying a sense of urgency.

It was a welcome relief to hear the peaceful "Der Mond kommt still gegangen". The final selection was "Am Strande", a German translation of Robert Burns' poem "Musing on the roaring ocean".

Ms. Evanyshyn has a lovely and gracious stage presence, using only minimal gesture and allowing the text and musical phrasing to shine through. She never allows her gifts to steal attention from the music.

Next on the program was soprano Anneliese Klenetsky with Chris Reynolds as collaborative pianist. She too introduced herself with grace and enthused about her discovery that Benjamin Britten set some Russian text. This was a discovery for us too and we found the songs as unsettling as Ms. Klenetsky did. The text for this cycle, The Poet's Echo, was written by one of Russia's preeminent poets Alexander Pushkin. The cycle struck us as the cry of despair from being unheard.

The performance was superb and Ms. Klenetsky captured the inherent drama with a self-possessed maturity and conveyed the mood of these non-pretty songs. Our favorite was "Angel" in which the gentleness of an angel overcomes the sullenness of Satan. 

In "The nightingale and the rose" we loved the way Mr. Reynolds captured the song of the nightingale on the piano. In "Lines Written During a Sleepless Night" the melody wanders in a searching manner the way an insomniac searches for sleep.

We love the sound of Russian and our love grows the more we become familiar with its sound. We would have to say that we enjoy Rachmaninov more than Britten and soprano Jessica Niles began by telling the audience how she chose these songs for their imagery and, indeed we could see through her eyes and hear through her voice.

We think it made quite a difference that she translated the songs herself since she seemed to know exactly what she was singing about, giving each phrase a sense of movement toward the "goal note". These are luscious songs and each one carries a mood of its own, all well captured by Ms. Niles and Yoon Lee, her collaborative pianist.

"At Night in My Garden" tells of a willow whose tears will be wiped away by the tresses of the poet. Such a tender picture! All sadness disappeared with the joy of "The Daisies". There is unmistakeable charm in "The Pied Piper" whom we wanted to follow. "Dream" was filled with wonder and was a fine antidote to Britten's song about insomnia!

Bringing the program to a stunning close was baritone Jacob Scharfman who introduced the songs of Erich Korngold and told of Korngold's birth in Austria and his success as a composer of music for film in Hollywood. Strangely, this was news to us since we always thought of him as the composer of the opera Die Tote Stadt! The songs were written by Korngold when he was still a wunderkind in his native Austria. Mr. Scharfman shared with the audience the reason for his choice; his forebears were also Austrian Jews.

The songs have an Early 20th c. feel and some of the lavishness of Richard Strauss. Mr. Scharfman also did much of his own translation. "Reiselied" is a most cheerful and energetic song of optimism, a setting of text by Joseph von Eichendorff, one of our favorite poets for lieder. "Osterreichischer Soldatenabschied" allowed shifts of mode from the piano of the wonderful Nathaniel LaNasa which were reflected vocally by Mr. Scharfman.

Perhaps our favorite was "Nachts" which conveyed a mysterious and elusive mood, emphasized by a repetitive motif in the piano involving alternation of a whole step, much slower than a trill. The program ended with "Versuchung"--a rather puzzling text.

Mr. Scharfman's performance was marked by the expansiveness of a generous spirit and a personal involvement with the text and music. There was a lovely resonance to his instrument and fine German diction.

All in all it was a delightful treat to hear such fine artistry. One could not have heard better at any price. If you haven't attended a Liederabend at Juilliard, you owe it to yourself to enjoy such a treat. But be advised that tickets are free and can disappear rapidly.

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NYFOS AFTER HOURS--PROTEST SONGS

Mikaela Bennett, Joshua Blue, Jacob Scharfman, Andrew Munn, Amanda Lynn Bottoms, Chelsea Shephard, and Dimitri Katotakis

Hosted by the gracious Henry of Henry's Restaurant, an Upper West Side institution, New York Festival of Song After Hours presented their final show of the season; it was a different sort of show, comprising songs of protest, but just right for the mood in NYC these days. We liberal arts loving folk feel like a persecuted minority with a great deal to worry about and against which to protest.

Our pianist/arranger/host Steven Blier picked up an idea by the highly esteemed young director Mary Birnbaum and immediately compiled a list of songs on the theme of protest. There was no trouble finding a cast of talented young singers from Juilliard's Department of Vocal Arts to perform the songs.

This was indeed a different kind of show. There was no "Sing for Your Supper" to get us all in a jolly mood and Mr. Blier eschewed his customary banter about each song. He told the audience that he wanted the songs to "speak for themselves". Many of the songs related to oppression in foreign countries, in which case the singer read the text in English.

The wildly talented Mikaela Bennett opened the program with Stevie Wonder's song "If It's Magic". We were not too sure about what was being protested, unless it is the carelessness of our culture in not taking care of the things that matter. Ms. Bennett is unceasingly eclectic and just when we were enjoying the soul and jazz inflected song, she burst forth with some operatic riffs that reminded us of her versatility.

Toward the end of the evening she sang Joni Mitchell's "Big Yellow Taxi" which clearly protested the despoiling of nature and the failure to appreciate our blessings until they are gone. Ms. Bennett's personality is larger than life and she put her own expressive stamp on this song which was written in the 60's, long before she was born.

Her duet with Amanda Lynn Bottoms was sung in Spanish and the two women harmonized beautifully in "Como la cigarra", a protest by lesbian poet/musician/writer Maria Elena Walsh against the military dictatorship in Argentina (1976-1983).

Ms. Bottoms had a couple fine solos as well. She sang "Song for Peace" from A Prayer to the New Year by the young Arabic/American composer Mohammed Fairouz, setting of text by Fadwa Tuqan. It was a prayer for peace in the Middle East and we were not sure whether Ms. Bottoms sang in Arabic or the original Aramaic.  In any event, it was lovely.

She was absolutely riveting in "Lamento esclavo" by the 20th c. Cuban composer Eliseo Grenet with text by Aurelio G. Riancho.

Also in Spanish was Leonard Bernstein's l977 setting of text by feminist Puerto Rico poet Julia de Burgos, from his work Songfest. Chelsea Shephard performed "A Julia de Burgos" with passion, revealing the strong core of a woman who has found it necessary to be outwardly conventional and compliant.  

Ms. Shephard had a good time in her duet with Dimitri Katotakis, performing Randy Newman's ironic song "Political Science"--at heart a protest against American aggression.

Mr. Katotakis did well with "Pampamapa", Carlos Guastavino's setting of Hamlet Lima Quintana's poetry--more resistance to Argentinean fascism, although the text is more allusive than descriptive. The complex folkloric rhythms were stirring.

What Joshua Blue did with Fats Waller's song "Black and Blue" was extremely powerful. The text by Andy Razaf speaks to the painful damage done to an individual's sense of self worth by prejudice. It felt very personal and filled with truth.  It hurt! Mr. Blue is appropriately named since he has a real feeling for the blues and knows just how to bend a pitch.

He was similarly superb in Stevie Wonder's "Big Brother" which deals with government surveillance.  It made us think of racial profiling; it made us uncomfortable, which is a good thing. We might add that Mr. Blue's instrument has a very special timbre.

Jacob Scharfman sang a wonderful song about Gay Pride called "The Lavender Song", written by Mischa Spoliansky in 1920 as "Das Lila Lied" and popular in German cabaret. The lyrics were written by Kurt Schwabach and translated by Jeremy Lawrence. It's a fine song but we wish we had heard it in the original German.

But we did hear Mr. Scharfman sing in Yiddish--the 1943 "Zog Nit Keynmol", by Vilna poet Hirsh Glik and also known as "The Partisan's Song". The pre-existing melody was written by Soviet-Jewish composer Dimitri Pokrass.  It's hopeful message was adopted by the Vilna Partisans who were inspired by the Warsaw ghetto uprising, and it spread from one concentration camp to another with its inspirational message.

Andrew Munn sang "Bella, Ciao", a traditional song of resistance to Mussolini and also Marc Blitzstein's "The Cradle Will Rock" from the 1937 show of the same name--a pro-Labor musical during the Great Depression which protested against wicked greedy capitalists.

The entire ensemble performed the encore--"Now is the Cool of the Day" an Appalachian folk hymn recorded by Jean Ritchie. With seven stunning voices raised in harmony, singing about taking care of Mother Earth, it was an inspiring way to end this special evening.

Additional musical support was provided by Chris Reynolds on piano and Jack Gulielmetti on guitar.

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ROMAN (un)CIVILIZATION

Andrew Munn, Cody Quattlebaum, Avery Amereau, Nicolette Mavroleon, Onadek Winan, Samantha Hankey, and Jakub Jozef Orlinski (photo by Richard Termine)

It is a most unusual occurrence for us to wish to see a production a second time immediately after the first time, but if Juilliard's production of Handel's Agrippina were to be repeated we would be over the moon. Thanks to some highly creative direction by Louisa Proske, superlative singing by a dazzling cast, and impressive playing by the musicians of Juilliard 415, Handel's entry in the 1709 Carnevale season "sweepstakes" was a major hit.

From our point of view, it was a grand privilege to be among the small audience fortunate enough to get a seat in the intimate Wilson Theater. But we could not help feeling sorry for opera lovers who did not get the same opportunity. The production deserves to be seen by a wide audience.

Handel was but 24 years old when he composed his first true operatic masterpiece and seems to have mastered the art of setting the Italian language, delighting the audience with nearly 50 gorgeous arias, many of them tailored from earlier works. In Cardinal Vincenzo Grimani, he found a fine librettist who played fast and loose with characters known from historical documents describing the waning days of the corrupt Roman Empire.

The work, although called an opera seria, is actually a black comedy that allows us to laugh at the machinations of evil people. The anti-heroine is the scheming Agrippina herself who will stop at nothing to position her son Nerone on the Emperor's throne--a subject tackled over 60 years earlier by Monteverdi in the darker L'incoronazione di Poppea.

In the title role, originally written for the soprano voice, mezzo-soprano Samantha Hankey was completely convincing as the grasping Empress, always devising convoluted schemes to dispatch her many enemies whilst convincing them that she was on their side. The vocal demands are many but Ms. Hankey produced gorgeous tones and showed no evidence of fatigue or strain. Her many facial expressions and gestures revealed her character--resolute, conniving, and power mad.

As her husband Claudio, bass-baritone Cody Quattlebaum turned in yet another perfect performance, nearly unrecognizable in elaborate makeup and even more elaborate wig. He created a character both bumbling and lascivious. His sound was generous and secure with a firm foundation.

Agrippina's son Nerone was portrayed as a spoiled weakling, hiding behind his mother's voluminous skirts. Soprano NIcolette Mavroleon bounded around the stage like the nasty youth he was supposed to be, playing violently with his military figures. Ms. Mavroleon handled the fioritura of her arias with great ease.

The only sympathetic character in the story is Ottone, and in this role we had the remarkable counter-tenor Jakub Jozef Orlinski. The role was written for a contralto but Mr. Orlinski sounds the way, we imagine, a castrato might have sounded (without sacrificing any body parts). There is a breadth and depth to his sound that we do not hear very often in the counter-tenor fach and it is astonishing. Equally astonishing is his physicality. When Ottone was happy, he somersaulted and cartwheeled around the stage.

Ottone is one of three suitors for the hand of the vain and superficial Poppea, the others being Claudio and Nero. The role of Poppea was performed in high style by soprano Onadek Winan who played her as a bimbo. She was particularly fine in "Vaghe perle, eletti fiori."

At first she was deceived by Agrippina's deceitful offer of friendship but the second time she too became filled with vengeance and established her own plot.

Two characters are enlisted by Agrippina to serve her ends but they too suss out her deceitfulness and rebel. The role of Narciso, written for alto castrato, was magnificently performed by mezzo-soprano Avery Amereau. The program lists her as a mezzo-soprano but our experience of her unique vocal timbre has us thinking "contralto". So many mezzos sound alike but Ms. Amereau sounds like no one else. It is a gorgeous sound and one that lingers in the ear. Furthermore, the artist had such fun with her role, creating a character as unique as her voice.

Baritone Jacob Scharfman sounded excellent in the role of Pallante, one which we believe was originally written for the bass fach. He too created a unique character, given to foppery and elaborate gestures.

As the slave/messenger Lesbo, Andrew Munn sang well and provided humor as he tried to get Claudio away from Poppea when Agrippina was approaching.

Much of the success of the creation of individual characters goes to director Louisa Proske. Co-Director of Hearbeat Opera, we have thrilled to the originality of her vision on a number of occasions. We have been highly displeased by the work of directors hauled in from film work who are ignorant of opera and create productions that may film well but are unkind to singers. On the contrary, Ms. Proske really knows her stuff and can create vivid dramatic pictures whilst maintaining the integrity of the vocalism.

Additionally, she was able to provide stage business that seemed to motivate vocal flourishes.  As an example we cite Poppea's opening a golden cask and launching into some impressive coloratura as she finds the strands of pearls

Part of the effectiveness evolves from movement training and no doubt Emma Jaster made significant contributions in establishing a unique movement style for each performer. This is particularly useful when vocal colors and phrasing are somewhat limited by the Baroque style.

Beth Goldenberg's costumes were extravagant and dazzling. Homage was paid to the Baroque period with baroque perukes and the lines of the women's gowns. The Roman period was acknowledged by the presence of togas and breastplates. Contemporary fashions made an appearance in Nerone's gold athletic shoes. In lesser hands this could have been an atrocious failure but Ms. Goldenberg's skill and taste made everything work together.

Kate Noll's set was nothing less than miraculous. With the audience seated on three sides of a rectangle in this black box theater, the center was occupied by a room with very low defining walls which were actually benches for sitting, covered with motley rugs and pillows bringing in touches of Asia and Africa. The universality of the story struck home with great force. One wonders if our country faces the same fate as the decadent Roman Empire!

Lighting by Oliver Wason was effective.

Let us not neglect the splendid playing of Juilliard 415, a preeminent period instrument ensemble. Maestro Jeffrey Grossman conducted from the harpsichord with Eunji Li on a second harpsichord. Violinists were Jeffrey Girton and Augusta McKay Lodge; violist was Alana Youssefian; cellist was Matt Zucker; bassist was Hugo Abraham. Fiona Last and Welvin Potter harmonized with the singers by means of oboe and recorder. Neil Chen played bassoon and the pair of theorbos were played by Adam Cockenham and Arash Noon.

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