A NEWBIE CONVERTED

Maria Brea and Jacopo Buora (photo by Jen Joyce Davis)

We find no shortage of Stars of Tomorrow in the opera universe. What we don't find in sufficient number are the audience members of tomorrow who will be there to listen to them. Therefore we make considerable efforts to bring young people to the opera. We love demolishing their prejudices--"Opera is stuffy, boring and irrelevant" is commonly heard. If we choose wisely, it turns out that the newbie is won over.

What better way to introduce someone to opera than at a Prelude to Performance event!  What better opera than Donizetti's comic masterpiece La Fille du Regiment! It doesn't come to mind as a "starter opera" as readily as some others but it seemed to be the perfect choice, what with its young cast, its frothy melodies, and its romantic plot.

Premiered in 1840 by L'Opéra Comique, the work took no time in making its way to New Orleans and then to New York. Although the master at some point created an Italian version with recitativi replacing the spoken dialogue, it is the French version we hear today. We remember with affection Natalie Dessay cartwheeling her limber frame across the stage of The Metropolitan Opera with Juan Diego Florez nailing the nine high C's. And that was in 2007!

Last night at Prelude to Performance we heard a superb cast bring the work to vivid life. As the titular character, Venezuelan coloratura soprano Maria Fernanda Brea created a lovable tomboy (minus the cartwheels) and sang the fioritura with accuracy and style. Her affection for all her "fathers" in the 21st regiment was convincing.

As Sergeant Sulpice, Italian bass-baritone Jacopo Buora created a fine figure of a Frenchman and employed his generous instrument with humor and affection. His duet with Marie in Act I "Mais, qui vient?" was charming.

Soon we were introduced to the local Tyrolean Tonio, portrayed by tenor Spencer Hamlin. Although suspected at first of being an enemy spy, he soon wins acceptance when he establishes himself as the man who rescued Marie from peril. He and Marie also have a lovely duet in which they profess their love. Tonio joins the French (the politics here are rather shaky but irrelevant) and, having been accepted, expresses his joy in the famous aria "Ah, mes amis". Mr. Hamlin attacked the nine high C's with aplomb and not a hint of pushing, bringing down the house, so to speak.

Of course, complications ensue.  Marie is the long-lost illegitimate daughter of the Marquise de Berkenfield. One could not imagine a better performance than that of Karolina Pilou, endowed with a very substantial mezzo and an impeccable sense of comic timing. Her equally amusing steward Hortensius was portrayed as a fussy fop by excellent baritone John Callison, almost unrecognizable in his elaborate get-up.

The veteran soprano Lucine Amara was on hand for the speaking role of La Duchesse de Krakenthorp, on hand to contract marriage for Marie with her nephew. The Marquise has been grooming Marie for an unwanted aristocratic life and the efforts and results are hilarious, giving us a second act filled with great music and dramatic reversals.

Laura Alley's stage direction was just as astute as we have come to expect and Charles R. Caine's costume design left no doubt as to the respective social stations of the locals and the aristocrats. Steven Horak's wigs and makeup made significant contributions. Meganne George's simple sets were lit by Joshua Rose.

In the pit, Maestro Imre Palló took excellent command of the orchestra and brought out the glories of Donizetti's delicious score. Noby Ishida's command of the chorus was equally impressive. The female villagers in Act I, fervently praying for protection from the French, sounded wonderful and the soldier's chorus, even better. French diction coach Dr. Susan Stout deserves props for ensuring that every word of French was understood.

In sum, it was a delightful evening and Newbie went home to listen to several more versions of "Ah, mes amis" on youtube. And as for Voce di Meche, we will not have to wait another eight years to hear this opera again; we will be reviewing it at the Santa Fe Opera next month.

The performance will be repeated Sunday 2:30 at Hunter College and we encourage you to catch it before it's gone.

(c) meche kroop

MAESTRO RICHARD BONYNGE MASTER CLASS

Chungfeng Li coached by Maestro Richard Bonynge

A few fortunate folk got to sit in on Maestro Richard Bonynge's master class, presented as part of the intensive training given to the lucky young singers participating in Martina Arroyo's Prelude to Performance program.

The famous conductor and recording artist speaks softly and carries a big stick!  No, not the baton; we mean it figuratively. He is quiet but very firm, insisting the students repeat the same phrase until they get it right. An acknowledged bel canto specialist, his gentle corrections made a noticeable difference in the students' performances. He is not at all like other master teachers who fawn all over the students telling them how marvelous they are and suggesting they add just one tiny thing "if it works for you". 

No! Mo. Bonynge does not even listen to the entire aria. He will stop a student immediately and get to work. He is not there to praise and support but to teach. There was a theme running through the afternoon. Almost all the singers were trying too hard; they were going for volume and big effects and Mo. Bonynge persuaded them to "bring it down a notch". This is bel canto and going for the "bel" seemed to be the message.

Maria Brea opened the program with "Par le rang et par l'opulence" from Donizetti's Fille du Regiment, which will be presented at Hunter College on July 10th and 12th, the culmination of the months of work by the students in the program. Ms. Brea worked hard on observing the piano markings on the score.  Master and student also worked on extending the vowels and achieving more flow through the cadenza.

Hyo Chang An sang "Pour me rapprocher Marie" from the same opera and was instructed to work on his legato and to lighten up the finally "e" at the end of several words. This was another theme on which we heard a great deal. Singers were mistakenly emphasizing that final syllable and were instructed to just touch it. He was also instructed to control the decrescendo in the descending scale passage and to open the vowels a bit more

Karolina Pilou has a large deep voice with an interesting quality. She sang "Fia dunque vero?...O mio Fernando" from Donizetti's La Favorita. She was instructed to eliminate the crescendi and the extra breaths which she consequently wouldn't require. She was also taught to not rush or push and to save something for the cabaletta.

Spencer Hamilton performed "Ah! mes amis....Pour mon âme" and he too had to work on decreasing his force and increasing the tonal beauty with rounder vowels. It seemed that pushing the end of the phrases was not at all helpful.

Claire Coolen and Jacopo Buora performed the duet "La voilà...Au bruit de la guerre" from Fille du Regiment and again we heard quite a bit about lightening up the final "e". We began to wonder whether another coach had insisted that they all work on emphasizing it! Ms. Coolen worked on eliminating the crescendo on her trills and indeed they sounded much better. Her vowels also needed to be rounder.

Chungfeng Li sang "La calunnia è un venticello" from Rossini's Il Barbiere di Siviglia. He sang it so well that he was not interrupted. The only suggestion he got was to pay attention to doubled consonants, a feature of Italian to which all singers should attend.

A lot of Mo. Bonynge's corrections were performed by the use of his expressive hands which meant that his often inaudible words were unnecessary. We got his very important messages. At the piano, Ed Bak performed in true yeoman fashion, serving each singer and his/her material.

Each singer progressed and we hope they will continue to work on these corrections that made such a difference in their performances. Tickets to Madam Butterfly and Fille du Regiment are going fast and if you plan on being in town in July, these two operas could make a profound difference in an operatically barren summer.

(c) meche kroop

FROM TEARS TO CHEERS

The cast of Prelude to Performance's Barber of Seville (photo by Jen Joyce Davis)

The tears from the prior night's performance of La Traviata had barely dried when we submitted to gales of glee at Il Barbiere di Siviglia.  No comic shtick was too broad for the mostly young audience at the Kaye Playhouse of Hunter College where Prelude to Performance is concluding its tenth season.  Through this program, the much honored and beloved soprano Martina Arroyo has ushered countless young singers into satisfying careers.  Indeed, we just saw/heard one of the earliest graduates, tenor Michele Angelini, turn in a superb performance at Caramoor as Gennaro opposite Angela Meade as the eponymous Lucrezia Borgia in Donizetti's rarely performed masterpiece.

Il Barbiere opens with a tender serenade by Count Almaviva, "Ecco, ridente in cielo" accompanied by bibulous musicians he has hired, led by one Fiorello, charmingly portrayed and well sung by the excellent baritone Paull-Anthony Keightley.  The serenade was directed toward Rosina, the beautiful ward of one Dr. Bartolo who plans to marry her himself that very day.

Kirsten Scott, whom we have enjoyed in Mozart, Puccini and Offenbach, had a wonderful time as Rosina, fearlessly tackling Rossini's daunting coloratura in "Una voce poco fa".  She succeeded in winning over the audience; we all wanted her to outwit the controlling Dr. Bartolo, sung by the excellent bass Jacopo Buora who created a thoroughly unlikable character. His "A un dottor della mia sorte" was properly pompous.

Figaro is the mastermind who, for a large fee, helps the Count to get the girl.  Samuel Thompson had the voice and the personality to fill the stage and turned in a most winning performance.  His Act I duet with Rosina "Dunque io son" was one of many highlights of the evening.  Of course, his "Largo al factotum della città" brought down the house.

As the Count, tenor Alasdair Kent seemed to be somewhat indisposed, cracking on some of the elaborate ornamentations.  In Act II, he sounded better and we were able to appreciate the lovely tone of which he is capable.

Jennifer Lazarz made a strong Berta and tickled us with her performance as the much put-upon housekeeper.  Paul Grosvenor as Don Basilio the music teacher was obliged to overcome a rather grotesque wig and makeup.  We always enjoy his aria "La calunnia è un venticello" about rumors and slander, in which Rossini builds to a wonderful climax. 

We were thrilled by Maestro Willie Anthony Waters' conducting which had perfect impetus and a much better balance than was achieved the night before.

Charles Caine designed some wonderful period costumes and Joshua rose repurposed the set from La Traviata in a very creative manner.  Stage director Anthony Laciura leaned heavily on slapstick humor that may not be our cup of tea but seemed to please the audience.  We ourselves find sufficient humor in the ridiculous behavior of the characters, the preposterous situations and Rossini's frisky music.

Although there was only one native Italian speaker in the cast (Mr. Buora) we found the Italian diction completely comprehensible (coaching by Sergio Stefani) and Cori Ellison's titles right on the mark.

This weekend of opera has been like an oasis in the summer dessert.  Thanks Martina!

© meche kroop