TURKEY vs. ITALY

Hyesang Park (photo by Ken Howard)

Of course we are not familiar with every single opera company in the USA but we would be surprised if any of them could put on a better show than Juilliard Opera.  If they presented a couple dozen operas each season we would be reviewing every last one. But of course, that is not possible and we must be content with three every year. We consider them major events on the New York opera scene.

Perhaps each one is a gem because such care is taken to hire the very best artistic and musical staff in the field.  Perhaps it's because so much care is taken with casting from among a group of singers that are so outstanding, all of whom are singing around the country in operas and recitals as well as winning competitions.

Last night's opening of Rossini's Il Turco in Italia was a resounding success. Composed two centuries ago when Rossini was but 22 years old (but with several successes under his compositional belt), the opera was a bit advanced for the moralistic Milanese population but went over far better in Rome and Naples.  The work achieved a second life when Maria Callas sang the lead in Rome in 1950 and hasn't been heard in NYC since Beverly Sills performed the role in 1978 at the New York City Opera.

Scintillating soprano Hyesang Park knocked our socks off last night as the fickle Fiorilla who manages men like a juggler keeping all his balls in the air.  First there is her cuckolded husband Geronio, sung by Polish bass Daniel Miroslaw; then there is her steady companion/lover (cavalier-servant) Narciso, sung by tenor Joseph Dennis; and finally the newly arrived Turkish prince Selim, performed by the very funny bass-baritone Michael Sumuel.

The meta-premise is that a Playwright (baritone Szymon Komasa) is stumped for ideas while visiting a spa in Naples and decides to both observe and manipulate the characters to advance the plot of his play.  The marvelous mezzo Kara Sainz portrays Zaida, a Turkish woman once in love with Selim, but now working at the spa; Albazar (tenor Nathan Haller) is her landsmann, now managing the spa. Just imagine the complications which ensue as Fiorilla tries to ensnare Selim!

We are delighted to report that the voices--every single one--excelled in their handling of the bel canto style.  Furthermore, the comic acting was fine all around; this is not a farce and it's more than an opera buffa.  It is a comedy of manners and the final resolution of the romantic adventures and misadventures is a bit shy of happy, even though the lovers and marital pair are reconciled.

In a stroke of luxury casting, we noticed that the chorus comprised several of our favorite singers--including Takaoki Onishi, Avery Amereau, Joe Eletto, Kurt Kanazawa, James Edgar Knight, Tyler Zimmerman and several other.  It was fun picking them out.

We hope you will still be able to get tickets to the subsequent performances and that you will notice some of the highlights we particularly enjoyed: the sparkling overture; Fiorella's aria sung with the arriving Turkish sailors singing a minor key chorale; the playwright instigating a catfight between Fiorella and Zaida, the towel fight between Selim and Geronio; the duet between Selim and Fiorella; Albazar's deeply felt aria. Oh well, there were too many outstanding moments to list them all.

A true coup was getting the superstar conductor Speranza Scappucci to lead the Juilliard Orchestra, equal contributors to the evening's success.  We hope the term does not sound rude but this beautiful woman is a "podium animal".  Rossini's pen never failed to turn out an endless supply of melodies that make our heart sing.  And her baton brought out the joy and sparkle of each one.

Director John Giampietro made some minor adjustments to fit the plot into a new time and place.  The band of gypsies were converted into spa workers and the work took on the flavor of the films coming out of Italy in the late 1950's and early 1960's.  This served the comedy well and did not detract at all.  Mr. Giampietro is a superb storyteller.

Scenic Designer Alexis Distler scored with an impressive spa, replete with palm tree, white latticework, rows of chaises longues and several dispensers of mineral waters. Lighting Design by Derek Wright was effective.  Costume Designer Sydney Maresca contributed smashing red and white uniforms for the spa staff, throwing in a doctor with a stethoscope. Fiorilla was dressed as perkily as her capricious nature called for. 

Our sole quibble was the Turkish-vested fellow wandering around onstage carrying a model of a sailing ship.  We never did figure out who he was!

(c) meche kroop

SUN SET

Joseph Dennis and Corinne Winters (photo by Ken Howard)

A rebellious young woman enrages her father by marrying his best friend who is already married. A nation emerges from centuries of feudalism and endures chaos on its lengthy pathway toward modernity.  Do these story lines sound familiar?  Do they sound like the stuff of opera?  Yes indeed!

The Santa Fe Opera is notable for tackling contemporary operas every season and this year's entry was  the very worthy Dr. Sun Yat-Sen by Huang Ruo who composed some very interesting music made dramatic by the liberal use of percussion.  Carolyn Kuan's conducting was exemplary.

Listening to the fine singing in Mandarin (and some in Cantonese) one could easily forget how much effort went into learning a language phonetically that is so very different from European languages. Mandarin is actually a "sung" language with words having different meanings depending upon the tones which rise and fall musically.  These tones must be sacrificed to sing on the proper pitch which makes it difficult, even for speakers of Mandarin, to understand.

Notwithstanding, the superb singers rose to the challenge.  Most astonishing was the performance of tenor Joseph Dennis as the good doctor himself.  Mr. Dennis is a member of the Apprentice Program and expected to serve as cover.  In a life-changing twist of fate, he wound up the star and garnered universal praise for his exceptionally fine portrayal.  He is onstage singing in nearly every scene and the music is difficult.  He sounded even stronger at the end than he did at the start.  Such are the benefits of a healthy young voice!

As his love interest Soong Ching-Ling, the superb soprano Corinne Winters gave a sensitive portrayal of a young woman who idealized this humble doctor who gave up everything to fight for China's future.  Her voice is nicely focused and has just the right amount of vibrato.  The love duet in Act II was meltingly tender and our favorite scene.

As Dr. Sun's first wife from a youthful arranged marriage we enjoyed soprano Rebecca Witty, another apprentice getting an opportunity for a breakthrough.  Her sacrifice was to grant Dr. Sun a divorce so he could marry Soong Ching-ling.  She has a touching aria in which she tells of being neglected by her husband who was so busy with politics and often in exile.  There was even a touch of humor when she told of her wish to marry an ordinary man in her next life.

As Charlie Soong, Ching-Ling's father, Gong Dong-Jian employed his bass well, both in friendship for Dr. Sun and later in rage when he felt betrayed.  As his wife, mezzo-soprano MaryAnn McCormick was a sympathetic character and we particularly enjoyed her scene with her daughter as papa lay dying. Charlie's reconciliation with his daughter was most touching.

The Japanese friends of Dr. Sun, Mr. and Mrs. Umeya, were portrayed by baritone Chen Ye Yuan and apprentice mezzo-soprano Katherine Carroll.

Should you know what was going on in China at the time that the United States and Europe were involved with The Great War, you would recognize how the libretto by Candace Chong simplified a very complicated story; there were long years of chaos and revolution as Dr. Sun labored to overthrow the Qing Dynasty and establish a democratic government.

But this is opera and such simplification is necessary. Sufficient it is to know that this humble idealist is still regarded as the father of his country, not only by the Chinese but also by the Taiwanese. The libretto was somewhat static with not much happening onstage. Director James Robinson did what he could to move the story along.

The set was designed by Allen Moyer with the outstanding element being bamboo scaffolding, symbolic of construction and change, erected on both sides and rear of the stage.  Other elements comprised a few pieces of period furniture.

The gorgeous costumes by James Schuette accurately depicted what was worn by both privileged Chinese women and by Westerners at the turn of the 20th c.  One could appreciate the style changes that occurred during the scenes set a couple decades later.  Much research must have been done.

The addition of dancers was an excellent choice as they illustrated the hard lives of the peasants during the feudal period.  Sean Curran's choreography bound the scenes together.

It was a genuine pleasure to hear a contemporary opera with great music.  It was also a great pleasure to hear it sung in Mandarin.  Translated into English, the dialogue would have sounded silly.

(c) meche kroop

BEETHOVEN'S ONE AND ONLY

Alex Penda and Paul Groves (photo by Ken Howard)

How is it that Beethoven only wrote one opera and spent a dozen years doing it?  It must not have come easily to him.  Indeed, he rewrote the overture to Fidelio several times and the opera as well.  It premiered for the first time in 1805 in Vienna which was, at that time, under French rule.  Largely influenced by the ideals of the French Revolution it was denied performance by the censors and only achieved production due to the intervention of Hapsburg Empress Maria Theresa.

This was an unusual choice for the Santa Fe Opera.  Although it is considered an opera, it has a great deal of spoken dialogue.  Although it has a happy ending it is not a comedy.  It has two major themes: the sacrifices of marital love and freedom from tyranny.  It's message is as valuable today as it was 200 years ago.

The orchestral music is as ravishing as anything Beethoven ever wrote and the Santa Fe Orchestra under the baton of the illustrious Harry Bicket (newly appointed Chief Conductor) did it justice with clean textures and rhythmic thrust.  The vocal lines are memorably melodic but challenging to sing; the game cast managed to carry it off with style.

The staging began even before the overture and introduced Leonore, disguised as Fidelio and serving as assistant to the jailer Rocco.  We also get to see Rocco's daughter Marzelline fussing about the kitchen of Charlie Corcoran's two-story set.  Jaquino, Rocco's other assistant, is importuning Marzelline to make marriage plans but she has fallen out of love with him and fallen into love with the recently arrived Fidelio.  One by one the voices join for a stunning quartet.

As Marzelline, the strong and silky soprano of Devon Guthrie (seen as an apprentice in 2010 and 2012) contrasted well with the sharper-edged soprano of Alex Penda as the titular Fidelio.  Ms. Penda was totally convincing as a young man but she is also very petite and at least a head shorter than Ms. Guthrie.  Yes, it is true that sometimes very tall women fall for very short men but it did look rather unbelievable onstage.

As the nice-guy jailer Rocco, Austrian bass Manfred Hemm sang with intensity and created a believable character.  As the spurned Jaquino, tenor Joshua Dennis used his fine voice and dramatic skills to make more of the role than is customary.

Leonore's husband does not appear until the second act but tenor Paul Groves made up for it, giving his all to his difficult aria and still managing to look as if he'd been in a dungeon for two years, imprisoned by his vicious enemy Pizzaro, portrayed with nasty gusto by bass-baritone Greer Grimsley.

Appearing at the end as a deus ex machina, Don Fernando comes to free all the prisoners.  The powerful and imposing bass-baritone Evan Hughes filled the shoes well.  Two members of the Apprentice Program made fine showings in brief solos as prisoners: the marvelous young tenor Joseph Dennis and the astounding bass Patrick Guetti.  We fully expect to see both their careers advancing rapidly.  So much talent at such a young age!

Not enough fine things could be said about the chorus, enacting prisoners desperate for freedom. Susanne Sheston gets big props as Chorus Master.

In spite of the superb orchestral and vocal performances we found Stephen Wadsworth's concept and direction to be distressing.  It is true that oppression exists everywhere and in all epochs but we fail to see how the Nazi holocaust has much to do with the political imprisonment of a small group of people. The concept was revealed gradually.  At the beginning it seemed to be anytime/anywhere but then a portrait of Hitler was exposed and Nazi uniforms appeared.

We found this to be at odds with the intentions of Beethoven and his librettists.  (There were several as he continually revised the opera.)  It seemed to be a graft that did not take.  We would have preferred a less specific setting that would have allowed us to make our own connections.

Furthermore, there are references to "the King".  Huh??? Which King?  And British soldiers coming in to liberate the prisoners and to hang the Union Jack? We don't like to see operas manipulated to fit into a Procrustean bed.

We liked Mr. Corcoran's realistic set.  On the ground floor were Fidelio's room and across a passageway, the kitchen.  Behold Ms. Guthrie as a drab German hausfrau! (Costumes were by Camille Assaf).  On the upper level were Pizzaro's office and some kind of waiting room.  Colors were all grey.

Duane Schuler's lighting was effective.  We liked the torches illuminating the dungeon and the sunlight when the prisoners were freed.

German diction was so perfect that subtitles were scarcely necessary.  Even the spoken dialogue was crisp and clear.

(c) meche kroop

GERDA LISSNER COMPETITION WINNERS

Mario Chang, Paul Han, Shirin Eskandani, Maya Lahyani, Alexey Lavrov, Alison King, Ryan Speedo Green, Joseph Dennis

 

 

Renowned for their generosity in supporting young singers, the Gerda Lissner Foundation hosted a festive evening at the New York Athletic Club last night honoring beloved soprano Diana Soviero.  Foundation President Stephen De Maio introduced Brian Kellow, Features Editor of Opera News, who served as host. Eight winners of the 2014 International Vocal Competition provided the entertainment. The judges did a fine job in selecting these very talented artists.

Israeli mezzo Maya Lahyani opened the recital with a vibrant performance of the well-known "Habanera" from Bizet's Carmen.  Ms. Lahyani has a rich true mezzo sound and a fine way of getting a song across.

Tenor Joseph Dennis showed good dynamic control in "Salut, demeure, chaste et pure" from Gounod's Faust; he succeeded in creating variety from one verse to the next.

Soprano Alison King has a lovely vibrato that she employed in "Iolanta's Arioso" from Tchaikovsky's Iolanta.  We liked the way her energy built to the climax and hope to hear her perform the entire opera in the future.

Tenor Paul Han did some lovely singing in "Fantaisie aux divins mensonges" from Delibes' Lakmé which he invested with great feeling, exhibiting an enviably delicate pianissimo.  We loved the way he floated his high notes without any strain.

The program next moved to the first prize winners.  Mezzo Shirin Eskandani has mastered the bel canto style of which we are so very fond.  Her "Non più mesta" from Rossini's  La Cenerentola was marked by accuracy in the runs and some unusual and finely executed embellishments.

Baritone Alexey Lavrov, well known from the Lindemann Young Artist Development Program, gave a musical and marvelously well-modulated performance of "Vy mne pisali" from Tchaikovsky's Eugene Onegin.  His interpretation presented the title character the way we have always thought of him--not overwhelmingly arrogant or cruel but a bit severe in his instruction of the immature Tatiana, as if he were an older brother setting her straight.

Bass-baritone Ryan Speedo Green, also well-known from the Lindemann program, conveyed the blustery humor of Osmin in "Solche hergelaufne Laffen" from Mozart's Die Entführung aus dem Serail".  He can create a wonderful character without any sacrifice of musicality or tone production, making it all appear natural and effortless.

Grand prize winner Mario Chang gave an electrifying performance of "Ella mi fu rapita" from Verdi's Rigoletto.  It was a strong and generous Italianate performance that gave everything Verdi asked for.  A wonderful cadenza capped the presentation.

Accompanying pianists were Arlene Shrut and Jonathan Kelly.

We remain grateful as ever to The Gerda Lissner Foundation for the generous support they give to young artists.

© meche kroop