VERISMO TRILOGY

Maestro Israel Gursky and cast of Verismo Trilogy presented by Teatro Grattacielo

If you wanted a glitzy Saturday night, you were probably enjoying Verdi's Macbeth at The Metropolitan Opera; but if you are a hard core opera fanatic you were celebrating Teatro Grattacielo's 25th Anniversary Concert at The Gerald Lynch Theater. Indeed most of the luminaries of Planet Opera were in attendance. Lucky us! We were treated to some rarely heard masterpieces and some stellar singing that left us walking on air all the way home.

We are well aware of several operas that "came in second", replaced by other operas that superseded them in the operatic canon. We are always grateful to companies like On Site Opera, Dell'Arte Opera, and Juilliard Opera for bringing them to our attention. Sometimes it is difficult to figure out why we can't have two Barber's, two Marriage of Figaro's, two Falstaff's.

Last night we heard Act I of Ruggiero Leoncavallo's La Bohême which premiered in 1897 at La Fenice. Puccini's opera, with libretto by Luigi Illica and Giuseppe Giacosa, had premiered in Turin in 1896. Shortly thereafter, Leoncavallo tried his pen, utilizing the same source material by Henri Murger, and writing his own libretto.  And therein lies the failure, in our opinion.

Not having read Murger's episodic stories, we cannot say which version hews more closely to the source material but Leoncavallo's libretto is not very interesting. Perhaps it was an effort to emphasize the difference with Puccini's iteration, but Leoncavallo assigned the tenor role to Marcello and the baritone role to Rodolfo.

However, we found the music to be worthwhile, offering memorable arias for all the principals. Soprano Susanne Burgess played Mimi who, in this case, is not the central character and is already romantically involved with Rodolfo, here portrayed by the excellent baritone Suchan Kim, in his customary fine voice. Nonetheless, she is given an applause-worthy aria that suited her generous soprano perfectly. This was not one of Puccini's shy "piccole donne"! 

Mezzo-soprano Emily Hughes had the role of Musette who, in this version, is not the bold extravagant character created in Puccini's version; she came across as shyly flirtatious when she meets Marcello, sung by tenoriffic Alessio Borraggine who sang his gorgeous aria with ease and substance. 

The rest of the "Bohemians" comprised bass-baritone Stefanos Koroneos (also Artistic Administrator and Manager of Teatro Grattacielo) in the expanded role of Shaunard and baritone Robert Balonek (about whom more later) as Colline.. A role not present in the Puccini version is that of Schaunard's girlfriend Eufemia, finely sung by mezzo-soprano Anna Tonna.

Character tenor Ronald Naldi brought the role of landlord Gaudenzio to vivid life and tenor Jordan Weatherstone Pitts impressed us with the sweetest sound of the evening which belonged strangely to a character known as Un Becero, which translates as "a boorish or uncouth person". Now why that role would 

be given to such a silky voice we know not!

Bass Stefano de Peppo appeared in the small role of Barbemuche. Maestro Gursky conducted the outstanding orchestra with panache. We mostly remark upon the wind sections but in the Leoncavallo we were most impressed by the string sections, especially the contributions of the harp.

The second part of the evening was devoted to arias from the 1890 opera Loreley by Alfredo Catalani, who is better known for his opera La Wally. We have heard so many songs about the Lorelei who lures sailors to their death, but we didn't know the origin of the myth until the intensely dramatic music moved us to read about it.

Walter is betrothed to Anna, the daughter of the Landgrave, but falls for Loreley, whom he seduces and abandons. Loreley gets her revenge with the help of supernatural characters. She must pledge to love Alberich (!), Lord of the Rhine and throw herself into the river, but gains the power to seduce men. Anna dies at the wedding and Walter dies pursuing Loreley.

The arias we heard were so arresting that we wanted to see the entire opera. It could be staged in a manner similar to Rusalka, with which it has some similarities. Walter's Act III aria (a kind of mad scene) was given a powerful reading by tenor Jeremy Brauner whose intensity was riveting. Soprano Ashley Bell sang Anna's aria of disappointment, making us feel sorry for the abandoned bride.

Soprano Kirsten Chambers lent her sizable instrument to the highly dramatic aria before Loreley achieve her transformation by throwing herself into the Rhine. Not only were we mesmerized by her performance but noted the major contribution of the chorus of spirits--comprising Teatro Grattacielo's Young Artists, directed by Jason Tramm--accompanied by that gorgeous harp.

TRISTAN UND ISOLDE--NOT FOR THE FAINT OF HEART

Cast of Tristan und Isolde at National Opera Center

By guest reviewer Ellen Godfrey

Producing, preparing, and performing Richard Wagner’s Tristan und Isolde is not for the faint of heart.  Wagner’s operas demand so much from the singers, musicians, designers, and directors…arguably more than any other composer.  Artistic consultant Peter Randsman started thinking about the possibility of a concert performance of the opera without orchestra, but with piano, to be performed in a small intimate performance space. His goal was two-fold; first to have the singers articulate the text…to be dramatic and to get the emotion out there without scenery or costumes and secondly to give singers a chance to perform this great and taxing opera and to give the audience the opportunity to hear it.

 Peter and his colleagues assembled a fearless cast of singers. Coordinating the performance was conductor and music director, Maestro David Gilbert, chief assistant to conductor Pierre Boulez at the 1976 Wagner Bayreuth Festival, and pianist William Hobbs, a soloist as well as featured pianist with orchestras, and ensembles. LeAnn Overton wrote the English subtitles. She is a vocal coach on the faculties of Manhattan School of Music and Montclair University. Peter Randsman has performed as an actor/singer in many musicals, has sung with the New York City Opera, and has his own artistic management company. He was very involved in working with the singers.

This Tristan was performed at the National Opera Center in New York City, to a sold out house on Friday evening, November 30. I am happy to report that it was a great success.  Maestro Gilbert’s conducting was firm and totally attuned to every nuance of the difficult score. William Hobbs was amazing at the piano; for over four demanding hours he played with passion, drama, sensitivity, and understanding.

The opera was sung in German, with English subtitles and, as is common in concert versions of operas, the singers had scores. However, they were still able to convey their emotions and interact with each other. The rehearsal period was only three weeks. The only singer in the cast who had ever sung Tristan was Adam C.J. Klein, who performed the role at the Seattle Opera. It truly is amazing that the performance came together so well.

Tristan und Isolde is based on a 12th century Germany legend. Tristan is bringing Isolde to Cornwall by ship for her marriage to King Marke. Isolde and Tristan have both fallen in love with the other, but both keep their feelings hidden. Brangane, her maid, can see that Isolde loves Tristan and substitutes a love potion for the poison Isolde and Tristan were preparing to take. Under the spell of the potion, Isolde and Tristan admit their love for each other. 

Later they have a passionate encounter at night, but are discovered by King Marke, who is furious. Tristan flees to France despite the wounds inflicted on him by his former friend and betrayer Melot. Isolde follows him to France,but by the time she gets there he is dying. She dies by his side, enraptured and transfigured by love.

The singers were all up to the task. After the first act prelude, the tenor, Jeremy Brauner, sang a lovely Irish song beautifully and clearly. He was equally at ease with three other roles; the betrayer Melot, a steersman, and a shepherd.

There are few opera soprano and tenor roles that have as much singing as  Isolde and Tristan do. Both Julia Rolwing, as Isolde, and Adam C. J. Klein as Tristan, proved to be wonderful in their parts.  In Act I, Isolde’s narrative and curse, Julia Rolwing displayed the anger boiling inside.  She has an even dramatic soprano range, from top to bottom and has no fear of the high notes. Her voice has a lovely dusky quality.  

Adam C. J. Klein was equally fearless in his singing. He has a bright tenor voice and uses it for dramatic purpose when called for. After drinking the love potion, they sang lovingly to each other.  The Act II duet, which runs about 30 minutes, was introduced very delicately by William Hobbs and was sung with great love, excitement, and intensity.

Act III belongs to Tristan; who sings for about 40 minutes, with a couple of interruptions by Kurwenal. While some tenors take some cuts in the third act, Adam insisted he would sing it uncut. The length of the scene did not prevent him from singing with passion and a strong, dramatic voice. 

The end of the opera belongs to Isolde. After all that singing, Julia Rolwing could still sing an unforgettable Liebestod…starting off slowly and gradually increasing in sound and going easily higher and higher until the music fades.

Brangane, Isolde’s maid, was performed by Alison Bolshoi. Although she was a soprano, she is now a contralto. She has an exciting and even big booming voice from top to bottom.  The lower notes of her contralto voice are absolutely gorgeous.  Her singing of Brangane’s watch in Act II, was outstanding.

Kurwenal, Tristan’s retainer, was sung by helden-baritone Bryan Glenndavis. His voice beautiful voice is very expressive and big. He is perfect for Wagnerian roles.

King Marke, who is to marry Isolde, was sung by bass Eric Lindsey. I was  extremely impressed with his distinctively beautiful bass voice. He sang without pushing his voice and was very dramatic in his castigation of Tristan.

Justin McBurney, the English horn player had a lovely tone. He comes in for the third act. He played with great joy ,when appropriate and also great feeling.

Thanks to all who participated in this wonderful performance.  I found it very interesting just hearing the piano, especially played by such an excellent  pianist as William Hobbs. Maestro David Gilbert led a brilliant performance. There is nothing better than hearing opera voices live. I hope that Peter Randsman and his group can perform other operas in a similar manner.

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

LA ZINGARA

Maestro Douglas Martin, Director Nathan Hull, and cast of Donizetti's La Zingara presented by Amore Opera

Some folks go to the opera to cherish the old standards and revel in their familiarity; others go to the opera to see something new and daring; and still others love to find something old and undiscovered or neglected. The current season of Amore Opera, like prior seasons, pairs two works, one of which is familiar and the other of which is undiscovered. The old warhorse--Bizet's Carmen, recently reviewed, is paired with an early work by Gaetano Donizetti entitled La Zingara, astonishingly never seen before in the USA.

Carmen is a tragedy whilst La Zingara is billed as an opera semiseria. To our eyes and ears it seems more like an opera buffa with plenty of humor and, like Carmen and Die Zauberflote, written with spoken dialogue. We could not stop thinking of zarzuela, a Spanish art form involving crazy plots like this one.

La Zingara premiered in Naples in 1822; it was Donizetti's 7th opera and the first one he created for Naples. In place of recitativi, he incorporated spoken dialogue; the aristocrats spoke in classical Italian whilst the servants spoke in Neapolitan dialect. The opera was a great success; we wondered what the Neapolitans thought about their dialect being employed in such a fashion but cannot find any commentary from that period.

Wisely, Director Nathan Hull (also president of Amore Opera) eliminated the dialogue which was replete with Neapolitan humor that would make no sense to contemporary audiences, and wrote some clever dialogue in idiomatic English which explained the plot and fleshed out the characters. There was a very humorous moment at the beginning when the Amore Orchestra started playing the overture to Carmen and Argila herself (the titular gypsy girl) comes out and tells the orchestra "no, not that one!"

Donizetti's music never fails to delight and the tunes he penned always tickle our ears. We recognized one which he later recycled in L'elisir d'amore; those more familiar than we are with his entire oeuvre might have recognized more. The 24-year-old composer was initiating experiments that would be fulfilled in his long composing career. One absolutely stunning moment occurred at the end of the first act when three couples sang interlocking and overlapping duets, producing a sextet of impressive complexity and thrilling harmonies.

In the title role, mezzo-soprano Melissa Serluco (whom we have enjoyed at Utopia Opera and New Amsterdam Opera) turned in an outstanding performance. Aside from her fine vocal assets, she created the character of Argilla with such skill and charm that the surprise ending seemed quite natural. We would not want to spoil the surprise for our readers but let it be noted that Mr. Hull's dialogue layered on some really clever references to other more familiar operas in the canon. This spunky Gypsy Girl uses her keen intelligence to manipulate all the other characters--not to hurt them but to solve their problems. We are still smiling about her antics.

The story concerns the nasty despotic ruler Don Ranuccio (portrayed by the always wonderful baritone Robert Garner) who is trying to marry off his daughter Ines (soprano Mary Thorne) to his lieutenant Antonio (Michael Celentano). He has unjustly imprisoned Antonio's uncle Don Sebastiano (veteran bass Jay Gould) and plans to murder him so that Antonio will get the inheritance. The jail is guarded by the humorously inept and clumsy Papaccione (Frederic Rice). 

Ines is in love with Fernando (tenor Jeremy Brauner) whose identity is kept secret. Fernando is accompanied by his faithful servant, the very funny Sguiglio (Bennet Pologe).

The finest singing we heard all night was that of tenor Jed Kim who sang the role of the Duca d'Alziras whom Don Ranuccio also wants to murder.  He began a phrase with such exquisite pianissimo and spun it out like a strand of silk. His breath control literally took our breath away. He has an instrument of very sweet color and employs it well. We want to hear him again!

As Ines' companion Amelia, La Toya Lewis sang well, as did the two lovely young ladies portraying Argilla's gypsy friends. Nicole McQuade was Ghita and Heather Boaz was Manuelita. Everyone's Italian was comprehensible, thanks to diction coach Paul Ferrara, himself a former singer.

Mr. Hull wears his director cap well, likely due to his considerable experience as a singer. In so many contemporary productions, directors are brought in from other branches of the arts, directors who do not understand singers.  Mr. Hull always knows where to place his singers and never asks them to sing in ridiculously awkward positions.

Susan Morton's chorus sang well. Maestro Martin pulled the orchestra together after a somewhat ragged beginning.

Richard Cerullo's set design was simple but serviceable. Lauren Bremen lit them well. Cynthia Psoras' costumes worked just fine, readily differentiating the nobles from the servants and from the gypsies.

We do not know whom to credit for the sound design but the loud clanking sound accompanying the locking of the flimsy prison door was a source of humor, as was the huge splashing when several characters dropped down into the well. Although the story had its serious elements we welcomed the emphasis on the moments of comedy. And it did have a very happy ending; we walked out all smiles.

There will be one more performance tonight and, although there are no children onstage, we recommend that you bring your children. We were so happy to have the opportunity to see and hear a long lost work and you will be too.

(c) meche kroop