FROM THE GOOD FOLKS AT DELL'ARTE OPERA ENSEMBLE

 Maestro Chris Fecteau, Jonathan Harris, Clara Lisle, and Morton Cahn

Last night we felt transported back to the 19th c. when artists and their followers gathered around a piano and created music at home. We adore this manner of appreciating music up close and personal and have created many such salons in our own home. What a pleasure to not only hear artists perform but also to be able to socialize with them and other music lovers.

Our hostess for the evening was the lovely artist, mezzo-soprano, and cat-lover Barrett Cobb whose magnificent townhouse gave pleasurable stimulation to the eye. So many senses were involved--the ear, the eye, and tastebuds too, with food and drink courtesy of Maestro Chris Fecteau and his lovely wife Karen Rich, those good folks from Dell'Arte Opera Ensemble. The apt theme of the evening was "Among Friends".

The multi-talented Maestro, chef and connoisseur of wine, was our accompanist for the evening and the musical artists comprised soprano Clara Lisle, bass-baritone Jonathan Harris, and double bass player Morton Cahn. We were especially delighted that the artists introduced their selections and told a little about each one.

The beautiful Ms. Lisle opened the program with a very fine performance of Musetta's Act I aria from Puccini's La Bohême. All the vocal nuances and gestures were there resulting in a most believable performance, sans sets and sans costume.

Not to be outdone, Mr. Harris tackled a concert aria by Mozart, the ardent "Per questa bella mano" with Mr. Cahn performing the obligato. Mr. Harris does not lack for flexibility as demonstrated in some fine melismatic passages reminding one of a vocalise. He also deftly handled the wide leaps which Mozart often gave to his sopranos (i.e. Fiordiligi).

Ms. Lisle showed off some excellent German diction in a trio of songs by Hugo Wolf. We find Wolf's songs less accessible than those of Brahms, Schubert, and Schumann but not less interesting.. Our favorite of the three was "In dem Schatten mine Locken" from the composer's Spänischer Liederbuch. The warm and tender colors of Ms. Lisle's  voice were matched by Mo. Fecteau's piano.

The Allegro section of Bach's Sonata in G minor, written for viola da gamba, was given an attractive reading by Mr. Cahn.

Having recently heard an entire evening of Czech songs, our ears were quite ready for four folk songs set by Petr Eben, a Czech composer unknown to us. In spite of being composed in the 20th c. they are melodic as folk songs usually are and were charmingly sung by Mr. Harris. The final two were about abandoned women and it is to Mr. Harris' credit that he colored his voice differently for the  one who was in despair and the other one who was ready to move on to a new lover.

Mo. Fecteau gave a most expressive performance of a movement from A Novel composed by Ukrainian Sergei Bortkewiecz, also unknown to us.

Leonard Bernstein set a poem by Walt Whitman entitled "To What You Said" and we found it prosy and not very interesting. The vocal obligato was taken over by Mr. Cahn.

We far preferred the piano- bass duet entitled "Skipper's Call which was written by Ms. Cobb herself! We know what it's like to write music that you never get to hear performed so we shared in Ms. Cobb's joy upon hearing it for the first time.

Ms. Lisle performed "Le Chat" in fine French.  It was commissioned by Dell'Arte from Ellen Mandel. Mr. Harris had the audience in stitches with Libby Larsen's "The Apple Song". He picked up all the suggestive inferences and capped it all off by throwing off his coat. If you never heard this very American song, we urge you to Google the lyrics.

The program ended with Mendelssohn's melodic "Salve Regina" which allowed Ms. Lisle to show off her bright top notes. Mr. Harris performed one of Poulenc's non-ironic songs, the timely "Priez pour paix" in which Mo. Fecteau's piano echoed the contemplative mood.

It was a varied and altogether satisfying evening. We wish to alert you to some upcoming Dell'Arte events so--as they say--stay tuned!

© meche kroop 

POVERA DONNA

 Cast of City Lyric Opera's La Traviata

Opening nights at the opera are usually exciting and last night's opening of Verdi's tragedy La Traviata was particularly so for several reasons. An important one for us is that we have watched City Lyric Opera grow from its inception, back when it was called A.R.E. Opera. We love the idea that it is gynocentric, giving opportunities to female conductors and directors. What is important for the company is that they have outgrown church basements and black box theaters, presently performing in the charming theater at The Sheen Center which has a real proscenium arch with curtains, comfortable raked seating, a reception area, and room for a chamber orchestra.

This chamber orchestra, led by rising star Maestro Michelle Rofrano (no relation to the young Count Rofrano in Strauss' Der Rosenkavalier), comprised a dozen strings, augmented by flute, clarinet, bassoon, horn, trumpet, and timpani. They responded with agility to Mo. Rofrano's expressive hands in which no baton was needed.

Verdi's highly evocative music was given a fine reading with no radical departures but with subtle shadings and excellent balance. The dynamics were successful with the volume kept down during the arias but heightened for emotional moments. It is easy to see why Mo. Rofrano's star is on the ascendance.

We can say the same thing about the singers. How satisfying it felt for us to see and hear singers known to us from varied other performances with other companies--all together on the same stage, creating an effective ensemble feel. We credit Director R. Lee Kratzer for eliciting dramatically meaningful performances from the singers.

As the conflicted tragic heroine, we heard soprano Laura Soto-Bayomi who ably demonstrated Violetta's emotional growth from party girl to a woman in love and finally to a woman facing her death with fortitude. Her instrument is a powerful one with a brilliant upper register, as we noted recently when she performed in the zarzuela Luisa Fernanda for Opera Hispanica. It's a pleasure to witness a major talent with the versatility to perform such divergent roles.

As her ardent and impetuous young lover, we heard tenor Colin Aikins who was convincing in his portrayal. In Act I, he was shy and awkward, finally, with a big push from his copain Gastone, getting to meet the woman he has worshipped from afar for an entire year. In Act II, having gotten Violetta out of Paris and into the countryside, he has gained a measure of self confidence, delivering "Dei miei bollenti spiriti" with panache. Watching his spirits collapse when he reads Violetta's "dear John" letter was heartbreaking. The peak of his performance came in Act III when his anger exploded and his voice expanded to fit the emotion. Casting a young man in this role made the entire situation far more believable. We heard Mr. Aikins recently portraying a father in Puccini's Gianni Schicchi at Juilliard where he is a master's degree student. 

As Père Germont, we heard baritone Sejin Park who impressed us with his portrayal of a bourgeois paterfamilias, anxious to protect the good name of his family. He entered sternly but softened as he realized that his son's mistress was honorable and dignified. His rich round baritone was employed with admirable phrasing and dynamics. It was a memorable performance. We first heard Mr. Park at Santa Fe Opera where he portrayed the desperate Enrico in Donizetti's Lucia de Lammermoor. Again, we were impressed by the artist's versatility.

A character that usually fades into the background is Flora, Violetta' friend and party-giver.  Not this time! Mezzo-soprano Rosario Armas has a huge instrument that, along with some clever stage business and eye-catching costuming, filled the theater whilst tickling the ear. We loved the part in Act III in which she attacks her lover for his philandering.  We have heard Ms. Armas more times than we can count and she has always given 110%.

Another artist we have heard before is baritone Lucas Bouk who made a grand entrance in Act III as Baron Douphol, Violetta's wealthy "protector", striding in with an air of possessiveness and a massive fur coat.

Tenor Morgan Mastrangelo gave a fine portrayal of Gastone who sets the plot in motion by bringing his friend Alfredo to the party and literally pushing him toward Violetta, then spying on the two of them-- stage business that set him apart from the crowd of partygoers.

The role of the modest Annina was performed by soprano Alexandra Martinez-Turano who was not given any stage business to make her stand out, which was appropriate to the role.

Flora's unfaithful "protector" , the Marchese was played by bass-baritone Jonathan Harris whose reaction to Flora's accusation injected a note of humor. The chorus did a fine job in Act III singing the matador song and the staging was well done.

There were many other imaginative touches like the bird sounds heard before Act II and the howling wind before Act IV. However, we found other directorial decisions less than enchanting. We attended with two friends and none of us could understand the "concept".  We once saw a film version starring Teresa Stratas in which the overture was accompanied by a scene of the dying Violetta witnessing "removal men" carting off her belongings with the opera itself performed as flashbacks. It was cinematic and it worked.

In Ms. Kratzer's version, there appeared to be a coffin covered with camellias, in a room filled with people. Was this meant to be a funeral?  Violetta rises from what might be a bier and it seems as if her spirit reminisces about her life. In the final scene, which was awkwardly staged with Violetta getting in and out of bed several times, her "spirit" rises up and walks offstage. It just didn't work for us and interfered with the tragic ending.

In Act II, the silvery ribbons which were so effective in Act I fought with the countryside setting which was weakly established by a few green carpets on the ground, looking like putting greens, and a line of laundry which Alfredo proceeded to dump into a basket. There is something in the libretto about "washing away the shame" and we wondered whether this was meant to be symbolic. There were puffy white things scattered constantly in almost every scene; were they meant to be camellias or bloody tissues?  Or both? And the valise filled with the white things? None of this worked.

We don't mind if a director has something new to say about a masterpiece but all this nonsense struck us as attempts to call attention to the director's "originality". It certainly didn't serve to make the work any more relevant. There was no sense of time or place. Colorful costumes (by Camilla Dely) suggested modernity but we all know that the story is very much of the past. We no longer have "courtesans" and a young woman's marriage would not be affected by her brother having an affair. The woman would have been invited to her sister-in-law's wedding! And when the libretto speaks of Violetta leaving in a coach, we think horses.

Ms. Kratzer is certainly not alone in falling victim to this Eurotrash sensibility. The Metropolitan Opera has set a very poor example. Their La Traviata with the huge clock and Dr. Death was even worse. We feel very strongly that opera does NOT NEED TO BE MADE RELEVANT. It only has to be made musical and beautiful. We in the audience should feel free to draw analogies on our own and to appreciate differences in contemporary mores.  We don't see anyone running around the Metropolitan Museum of Art, painting over the Rembrandts trying to make them relevant.

We shall now step off our soapbox and praise City Lyric Opera for their fine casting and to congratulate them on their new home. We invite your comments below, especially if you disagree.

© meche kroop

ALBERT HERRING PART II

Cory Gross seated and surrounded by Marie Masters Webb, Caroline Tye, Jonathan Harris, Glenn Friedman,
Rebecca Richardson, Sarah Marvel Bleasdale, Stephanie Feigenbaum, and Luc MacMillan

What a fine time we had last night at Utopia Opera's production of Britten's Albert Herring! Although we generally don't care much for 20th c. operas, which always seem to us to be plays with music, we were tickled pink by the exceptional performances; they came together in a delightful whole, greater than the sum of its parts, thanks to astute stage direction by Gary Slavin and the fine musical performance under the baton of William Remmers.

For information on the background of this opera and the plot, please consult yesterday's review of a different production by Manhattan School of Music Senior Opera Theater. Several people have asked us which production we liked better. The answer is that they were both equally likable; can one compare raspberries and blackberries?

MSM's production was set in the intended period at the turn of the 20th c. in which the characters behaved in a restrained manner, appropriate to that epoch. We smirked at their high-minded morality and stuffy manners. Mr. Slavin set the work in 1959, a time period in which rebellion against society's dictates was just flowering. There is the butcher's assistant Sid (Luke MacMillan) coming on like a louche James Dean and his girlfriend Nancy (Stephanie Feigenbaum) a real "bobbysoxer" with an appealing sympathetic side.

Both productions poked fun at the older generation's stuffiness and "morality" but the acting in this production was over the top and laugh-out-loud hilarious. Marie Masters Webb as Lady Billows had one of the most withering glances we have ever seen. The other characters reactions to her overbearing and disdainful mien were just as laugh-worthy.

Similarly, the stern housekeeper Florence Pike, enacted by Caroline Tye, brought fear with her wherever she went--a true master of intimidation. Vicar Gedge had a touch of hypocrisy--judgmental toward others but, in a clever directorial touch (just one among many), a bit importunate toward the lovely but resistant schoolteacher Miss Wordsworth whose avoidant facial expressions were priceless. We couldn't help thinking of how times have changed in a half century. Today she could tell him off with impunity!

Sarah Marvel Beasdale did her customary fine work as Albert's strict mother, severe in her approach to motherhood and a firm taskmaster. Ethan Fran made a fine Mayor Upfold and Jonathan Harris did well as Superintendent Budd of the Loxford Police. We enjoyed their hysterical reactions when our hero went missing overnight.

Children are children and have always been given to mocking their elders behind their back. The charming Emmie was played by Hannah Madeleine Goodman; Zoe Marie Hart was seen as Cis and Jen Wu as the rascal Harry. All three were convincing and added immeasurably to the fun.

And what about our hero, the eponymous Albert? Cory Gross effectively employed facial and gestural expression to convey his varying moods. He began by appearing beaten down, gazing with envy at Sid and Nancy's fondling. (We noted that much more was made last night of the double entendres in the libretto.) His face and posture suggested wistfulness and a longing for escape.

The glances he made when notified that he was elected King of the May let us know how shy he was, how overruled he was in his objections, and how uncomfortable he was in being in the spotlight. With a little rum in his tum, thanks to the machinations of Sid, his entire expression changed and one couldn't help but egg him on to an exploratory adventure. The triumphant expression he evinced upon his return home the next morning left us feeling as happy as he looked.

The set comprised a couple tables and chairs which served all purposes. When we see opera on a shoestring, we use our imagination to fill in the blanks. In this case, we recalled the elegant settings from last night at MSM. Similarly, the costumes were also improvised by Eric Lamp and Angel Betancourt, but we cared not a whit. It was the dramatic and musical values that carried the evening.

We don't have much to say about the music that we didn't say last night. Still, there was an advantage in having the chamber orchestra front and center (well, actually, front and stage left, as it usually is) because we had an extra measure of pleasure glancing at the musicians when we heard that divine alto flute/bassoon duet, as well as the heraldic horn calls.

We noticed several examples of fugal writing which Maestro Remmers brought to the forefront and the excellent threnody when the townspeople believe Albert to have died. Such tragic writing in the midst of a comedy had an extra impact.

The music is not our favorite due to the fact that we are unable to truly appreciate a singer's vocal skills without a nice 19th c. melody. That being said, we did like the way Britten's instrumental writing emphasized the personality of each character. Would the work have succeeded as a play without music? Probably. With such excellent direction and acting we would have enjoyed the comedy. But we love music and have no complaints.

We do have one observation and that is about the staging. The small but comfortable Lang Recital Hall at Hunter College has excellent sightlines and good placement for the projection of titles. That was the sole edge the production had over the one at MSM. No matter how well the words are enunciated, we always miss some words at the higher end of the register and are grateful for the opportunity to fill in the gaps.

If you were lucky enough to have enjoyed what we consider Utopia Opera's finest production to date, we welcome your comments. If you missed it, we are very very sorry. There will be one more production June 7-9 of Laura Kaminsky's Some Light Emerges, a New York premiere. Mark your calendars.

Before closing we would like to report our delight that Utopia Opera is moving forward into territory more professional. We always have believed that artists should be paid and paid they will be. This company has grown significantly in its eight years and has, miraculously, covered its expenses by ticket sales. The new growth will require new funding.  Just sayin'!

(c) meche kroop

#MeToo DON GIOVANNI

Elyse Kakacek (Zerlina) and Eric Lindsey (Don Giovanni)-- Photo by Brian E. Long

Mozart's Don Giovanni is one of our very favorite operas and we always prefer to see it as Mozart and librettist Lorenzo Da Ponte intended. But this year we have seen a few radical interpretations that held our interest. Last night, Dell'Arte Opera Ensemble presented a version directed by Owen Horsley that was informed by the #MeToo movement. It is no secret that men in power often operate with a sense of entitlement that expresses itself toward attractive young women. Da Ponte didn't invent the concept!

The problem with presenting centuries-old stories with a modern twist is that of the Procrustean bed. Situations don't always fit right and those of us familiar with the traditional will be more than usually aware of the lapses. Those new to opera, like our companion last night, seem to take these lapses more easily.

Particularly, we hadn't a clue as to why Donna Anna, dressed like a secretary applying for a job,  was sitting on a chair outside Don Giovanni's door, from which she fled shortly after entering with her hosiery falling down. Perhaps she was meant to be an actress auditioning for a part. Who could tell? Of all the characters, hers was the one lacking a point of view and a backstory. We simply couldn't connect.  And after being brutally beaten with his own cane by Don Giovanni, why does the deceased Commendatore get up and walk out?

Well, this is opera so let us focus on the musical values which were splendid all around. To begin with, Maestro and Artistic Director Chris Fecteau wielded his baton with precision and gusto, giving us a satisfying reading of Mozart's score. We were delighted to hear some of the inner voices that often get swallowed up in larger venues. The Dell'Arte Festival Orchestra played beautifully for him and Lucas Barkley made some fine sonorities on the harpsichord. 

The overture was replete with portentous chords and anxious ascending and descending scale passages, setting the stage for the drama to follow. We always love the musical jokes when the onstage musicians play for Don Giovanni's dinner and Leporello complains about hearing an excess of Mozart's music! But here, the musicians were not onstage. We also missed the strange music in the party scene in which we hear music both refined and rustic in simultaneous cacophony.

The singers were superb. As the eponymous Don, Eric Lindsey's low and resonant voice was employed with fine phrasing. His Don walked a fine line between being charming and being violent. His immersion in the character was total and we found ourselves alternatively drawn in and repelled by him. The "Champagne Aria" was splendidly performed.

His scenes with Zerlina were some of the best of the evening. The duet "Là ci darem la mano" was delightful. Soprano Elyse Kakacek, another Dell'Arte regular, stunned us by her unwavering presence in the role. Her bodily and facial gestures were completely consonant with what was happening onstage. She was an all-too-willing "victim" for Don Giovanni's seduction. Her "Batti, batti" was beautifully sung, as was "Vedrai carino", strangely delivered sitting in a chair, facing the audience and not Masetto.

Nobuki Momma's Masetto was a well wrought characterization and his interactions with Don Giovanni and with Zerlina were completely convincing and seemed very au courant. We loved the scenes of the wedding with bridesmaids and ushers taking selfies and Masetto taking offense at Zerlina's unseemly behavior.

An outstanding performance was delivered by Jonathan Harris in the role of Leporello, Don Giovanni's much-abused manservant.  Like Ms. Kakacek, every facial expression and gesture reflected what was happening onstage; he used his excellent instrument with artistry. We loved his duet with Ms. Kakacek "Per queste tue manine" which we have rarely heard, and his sensational "Catalog aria" made use of a portfolio of photos, rather than the customary list.  Very 21st c.!

Three cheers for the Donna Elvira of soprano Jessica Mirshak. Not only was her "Mi tradì quell'alma ingrata" convincing in its self-righteous anger but her entire characterization gave us the feeling that we knew who she was and how she suffered and how entranced she was by the vile seducer.

Tenor Morgan Manifacier fulfilled the demands of the role of Don Ottavio, whom Donna Anna will probably never marry. He exhibited just the right degree of ardency which was just not ardent enough to win her affection. "Il mio tesoro" was cut (and missed) but he did well with "Dalla sua pace".

Soprano Jenny Lindsey lent her lovely voice to Donna Anna in "Non mi dir"; our only problem was trying to understand who she was. Perhaps it was the unflattering costume and some very distracting flashy sandals but she came across as a cipher. Perhaps a stronger directorial influence was needed. A novel directorial approach was that she was clearly lying to Don Ottavio about the so-called rape. This confused us further. He was never masked and she entered what appeared to be his hotel room willingly.

Hector Mori took the role of the Commendatore whom Don Giovanni invited to dinner. He appeared with stripes of white chalk on his face, presumably representing ghosthood.

Matthew Iacozza's set comprised a bunch of identical doors, through which characters came and went, lending a more farcical tone to the action than we might have wished. There were several instances when we were confused about what space the characters were entering or leaving. We sometimes wished that they had just walked in from the sides. 

The theater at La Mama has a balcony on three sides and we also wished that the serenade scene "Deh vieni alla finestra" had made use of it! There was nothing onstage to indicate the cemetery scene. We could have been anywhere. Props like cell phones told us that the drama was taking place in the present.

Dante Olivia Smith's lighting didn't quite succeed. A number of scenes would have benefited by being darkened, especially when Leporello exchanges clothing with his master and fools Donna Elvira. 

Claire Townsend's costumes were satisfactory, except for that of Donna Anna who sported flashy sandals with a modest dress. Zerlina's wedding dress, on the other hand, was perfect in demonstrating her sexual wavering.

Although Mr. Horsley's concept paid total attention to the rampant sexism, it ignored the classism so important to the tale. There was no differentiation between the so-called aristocrats and the so-called peasants. Perhaps this was intentional. Lecherous men feel entitled to all women regardless of their social class! The important thing here was that the women all stuck together and celebrated the destruction of the man who behaved so badly.

To summarize, we had a marvelous time, enjoying both the music and the characterizations. Our puzzlement over some directorial choices did not hamper our pleasure and probably won't hamper yours either, dear reader.

Take our advice and try to snag seats for the final performance Saturday night.  You will be both entertained and stimulated to think about gender relationships.

(c) meche kroop