TERRIFIC TRIAD

 Larisa Martinez and Joshua Bell

(photo by Shervin Lainez)

It is rare to find a concert as well planned and exquisitely performed as last night's "Voice and the Violin" at the Kaufmann Concert Hall of the 92nd St. Y. We were thinking "Divine Duo" for the title of our review but that would have neglected the exceptional collaboration of pianist Peter Dugan, so well remembered from his Juilliard days. Much pandemic labor went into researching works for violin and voice and in adapting works for this combination. This would seem to be a labor of love--love between husband (violinist Joshua Bell) and wife (soprano Larisa Martinez), since this beautiful pair of artists are indeed wed. The pacing of this concert held us spellbound from beginning to end and left us feeling elevated.

The concert opened with a rarely heard work by Mendelssohn entitled Infelice. Musical scholars claim that the work comprises two separate works written in two different periods but both are settings of text by Pietro Metastasio and both were written in the same key. Perhaps this would explain why the audience burst into applause after the recitativo. In any case, it is a lovely concert aria and allowed Mr. Bell and Mr. Dugan to create an entire orchestra to back up Ms. Martinez' astute handling of the two sections, particularly the urgency of the cabaletta. We admired the fineness of the trills and the drawn out diminuendo of the conclusion.

Ernest Bloch's "Nigun" from Baal Shem alternated sorrowful melodies with aspirational ones; forcefulness was met with delicacy in rapid alternation. We know little about violin performance but couldn't help noticing how much like the human voice it is--but also capable of something else that is beyond the reach of the voice, the double stop. Although ignorant of violin technique, we are capable of recognizing and appreciating artistry which Mr. Bell has in spades, as they say.

The eponymous heroine of Massenet's Manon begins her journey as a wide-eyed impressionable convent-bound young woman and Ms. Martinez's acting here was just as exceptional as her vocal artistry. She created a very believable character, so believable that our mind's eye supplied the town square and the coach! There was something else that impressed us. The artist gave a glimmer of the wildness behind the innocence, hinting at what would follow. What a performance!

In Ferdinand Hérold's. "Jours de mon enfance" from Le pré aux clercs, the gorgeous melodies bounced back and forth between violin and soprano, made delicious by the rapport between the two artists. If Mr. Dugan was denied the benefit of eye contact, he never faltered in his support of the other two artists.

Chopin's Nocturne in E-flat Major, Op. 9, No. 2 is one of our favorite works and to hear Mr. Bell play his own arrangement, with Mr. Dugan relegated to a supportive role, was a revelation. It allowed us to hear the piece with fresh ears and to realize the very different colors and capabilities of two different instruments.

Ms. Martínez voice and personality were perfect for the Iberian inflected. "Les filles de Cadix" by Delibes. Her highly spirited performance was countered by dreamy delicacy in her performance of Richard Strauss' "Morgen".

Mr. Bell's performance of Henryk Wieniawski's  Scherzo-Tarantelle, Op. 16 showed off his astonishing technique, driving the audience wild. We might mention here how much we appreciated the unassuming manner in which he addressed the audience, sharing with us that he played this piece as a 12-year-old. The achieved intimacy belied the size of the packed auditorium and we felt as if we were in a salon in our own home.

Our lovely soprano took over with a rapid fire performance of the lively "Zapateado" from Gerónimo Giménez' zarzuela , La Tempranica. Regular readers will recall how enthusiastic we are about zarzuela! 

We enjoyed Narciso Figueroa's "Mi Rancho" so much that we were inspired to learn something about him. Ms. Martínez is rightfully proud of her Puerto Rican heritage and what a good choice it was to share a work by her homeland's Father of Danzas, as he is called. The work she sang comes from a set of four songs entitled Cuatro Decímas and we want to hear the other three!  Mr. Figueroa was born to a Puerto Rican dynasty of musicians, studied classical composition in Europe and returned home to Puerto Rica to apply what he learned to his country's folkloric musical traditions and to assume a position as professor and director of the piano department of the Conservatory of Music of Puerto Rico, a position which he held for many years.

The evening ended with West Side Story Suite, an arrangement of Leonard Bernstein's opera by Brohn and Czarnecki. The violin introduction sounded uncomfortably dissonant to our ears but once Ms. Martínez started to sing (both female parts) we grew to love it. We were ready to leave on a "high" but our vivacious soprano took us even higher with a work well suited to her beauty--"Quando m'en vo" from Puccini's La Bohême, bringing the audience to its collective feet once more.

We understand that this divine program will be touring the United States, so if you are living outside New York, watch out for it.

© meche kroop

100% and 100 degrees

David Pershall, Maestro Alvise M. Casellati, Larisa Martinez, and Cody Austin

We will have much to say about last night's Opera Italiana in Central Park but let us begin by lauding the singers who performed with 100% commitment in sweltering 100 degree weather. No one less compelling than soprano Larisa Martinez could have pulled us out of our air-conditioned home; her prodigious talent was matched by that of tenor Cody Austin and baritone David Pershall, whose award-winning performances (Giulio Gari and George London) we wrote about in 2016. Last night he made a fine Figaro in the "Largo al Factotum".

We consider ourself to be rather good at predicting future stardom and Ms. Martinez' gifts impressed us from the first time we heard her five years ago, when we found her Barbarina overwhelmingly "winsome". A superb Musetta followed and we have been a great fan ever since. She has fame written all over her and witnessing her rising star has been a privilege.

Although we loved re-hearing Musetta's waltz last night what impressed us the most was her investment in the role of Violetta in Verdi's La Traviata. This role makes incredible demands on the soprano, not just vocally but dramatically. What makes her one of our very favorite female characters is her emotional growth.

In her duet with an appropriately lovestruck Mr. Austin ("Un di, felice") Ms. Martinez successfully portrayed the outwardly indifferent woman who secretly wants true love in her life.  In her confrontation with Germont père (Mr. Pershall), "Pure siccome un angelo", she colored her voice with dignity and restraint with flashes of anger and terror peeking through. Reunited with Alfredo at the end of the opera, (the duet "Parigi, o cara") she colored her voice with a very touching vulnerability and hopefulness.

The duets Ms. Martinez performed from Puccini's Madama Butterfly were excellent as well but were all from the romantic part of the opera and we were left wondering how she might have shown the emotional growth of Cio-Cio San. Mr. Austin's warm tenor made him the perfect romantic partner. We heard just about the entire end of Act I!  This was preceded by a duet between the upstanding consul Sharpless (Mr. Pershall) and the callow Lt. Pinkerton (Mr. Austin) who shows the audience his true colors.

There were other delights on the program. Soprano Jennifer Zetlan was joined by "vocalist" Helga Davis for an arrangement of Paola Prestini's Oceanic Verses. The shimmering texture of Ms. Prestini's orchestral writing were balm to the ear but we couldn't understand a word of Ms. Zetlan's Italian. Although the tonal quality of her voice was superb, we couldn't even tell it was Italian until we looked at the libretto. We cannot fault the sound design (uncredited) because the other singers were perfectly clear. We wonder whether the tessitura remained too long in the upper register. By contrast, Ms. Davis' smoky low tones were kind to the text, even though it was in English.

There were orchestral treasures to delight us as well. Maestro Alvise M. Casellati conducted a spirited reading of a couple of Rossini overtures that reminded us of the composer's gift for both memorable melody and rhythmic thrust. The overture from La Gazza Ladra came early in the program and had us tapping our toes.  The overture from William Tell was performed in its entirety with a profusion of themes that could only be described as "l'abbondanza". There was happily no haste to get to "The Lone Ranger" theme and we enjoyed the slower lyrical section equally, if not more.

It must be noted that the orchestra comprised seasoned players from The Metropolitan Opera Orchestra as well as gifted young musicians from our three local conservatories. From this diverse group, Maestro Casellati melded a fine unit.

The evening was produced and hosted by Dani Bedoni, sporting bejewelled butterfly sunglasses.  Her warmth and enthusiasm exceeded her familiarity with the Italian language and opera. She graciously brought to the stage Ms. Prestini and the teenaged Pauline Castro, a member of the New York Philharmonic young composers program, whose symphonic work opened the program.

The event was listed as a free event at the Naumberg Bandshell in Central Park; like so many other cultural events in the city, the benefits were heavily weighted towards the well-to-do. Only supporters got to sit in the chairs set up behind velvet ropes; we were rather impressed by their Italian style. Everyone looked as if they had just come from the salon or the spa. Men wore suits and ties. Women were groomed to a fare-thee-well. Meanwhile the paesani of NYC sat on the cement off to the side or on chairs they lugged from home. It may have been a smart move to watch the livestream from home!

The singers sang in the bandshell with the orchestra situated in front at audience level. Maestro Casellati occupied a large platform and we wished the singers had also been on the platform. If you have seen the fuzzy photos on our FB page (Voce di Meche) you will realize how far the audience was from the bandshell. Actually we were on the second row. For the finale "Libiamo", the singers moved toward us, making for a better experience. We were invited to sing along but no one did.

We just remembered that we were among those who vigorously protested the tearing down of the Naumberg Bandshell some years ago. We are so glad our efforts succeeded. What a great use it was put to last night!

(c) meche kroop

CLASSIC LYRIC ARTS GALA

Classsic Lyric Arts Gala at The Kosciuszko Foundation

We believe in evidence.  Last night's recital at the Kosciuszko Foundation featured an incredibly talented and beautiful group of young artists who attended L'Art du Chant Francais and/or La Lingua della Lirica last summer in France and Italy respectively. The evidence for the success of the programs can be found in the superlative performances we witnessed. Every single artist revealed splendid diction and a feeling for the style inherent in the language.

This is not magic but the result of hard work under the tutelage of masters and total immersion in the culture and its traditions. The French program accepts ten singers each year and provides tutelage under principal coach Michele Sénéchal who emphasizes the music inherent in the text.

The Italian program accept twice as many students and instructs them in the bel canto tradition. The principal coach in Italy is Ubaldo Fabbri. We are not mentioning any names but we recently heard a rather well known singer perform in Italian with final vowels that were just wrong.  "A"s become "o"s and vice versa.  No graduate of La Lingua della Lirica would make that mistake!

The nurturing environment permits these young artists to take risks and try new roles.  And that is how an artist can make a major leap forward and gain confidence.

Every singer was excellent and the choices on the program were a mixture of the usual and the unusual.  Many of the selections featured large ensembles, the success of which was probably related to the group having spent so much time together--studying, eating,  playing, and performing for the appreciative locals.

After a warm welcome from Glenn Morton, President and Artistic Director, the program opened with a scene from Rossini's La Cenerentola sung in perfect Italian and accompanied by Mina Kim. Closing the program was the final scene from Verdi's Falstaff, a ten-part fugue skillfully conducted by Ms. Kim with Sophia Zhou at the piano.

Another fine ensemble piece was the sextet "Chi mi frena in tal momento" from Donizetti's Lucia di Lammermoor, for which Cherie Roe provided the piano accompaniment.

Special guest star was baritone Jared Bybee about whom we have been writing since we began writing. We love watching young artists grow and, no doubt, Mr. Bybee's earlier participation in CLA has added to his lustre. We enjoyed him as an Apprentice Singer in Santa Fe and witnessed his performances in award recitals from all the major foundations.  Last night he performed "Largo al factotum" from Rossini's Il Barbiere di Siviglia. He sang with full rich Italianate tone and gave Figaro a lively winning personality. Hsini Huang was his accompanist.

We will not be able to give all the singers the credit they deserve but would like to point out a few performances that stood out.  Tenor Zachary Goldman and baritone Fernando Cisneros harmonized beautifully in "O Mimi tu piu non torni" from Puccini's La Boheme. Mr. Goldman is notable for a lovely unforced sound and Mr. Cisneros seemed to appear in many scenes, singing with full round tone,  a winning stage presence and the ability to inhabit a role, even a Falstaff.

Soprano Yvette Keong and tenor Ryan Hurley put a lot of tenderness into their performance of "Tornami a dir che m'ami" from Donizetti's Don Pasquale.

Moving on to the French part of the program, we were delighted to hear "Va, je t'ai pardoné" from Gounod's Roméo et Juliette sung by the stunning soprano Larisa Martinez, about whom we have often written, and tenor Vincent Festa who sang Romeo with his ringing tenor and ardent involvement. We have heard him several times over the past 3 years and always enjoy his performances. Ms. Martinez made a winsome Juliet and both employed fine French diction. The air was literally ringing with overtones.

We didn't know that Reynaldo Hahn wrote an operetta and were tickled to hear "Nous avons fait un beau voyage" from Ciboulette which was based on the same Murger stories which inspired La Bohème. William Guanbo Su, who impressed us at his graduation recital and several performances which maximized the lower end of his register, surprised us with his facility at the upper end of his register; soprano Ashley Lea made a splendid partner in this cream puff of a duet.

Another operetta unknown to us was Ganne's Les Saltimbanques.  "C'est l'amour" featured Angela Candela and Mitchell Kasprzyk with Fabio Bezuti at the piano. Ms. Candela gave us yet another opportunity to appreciate her fine French in "Nocturne à deux voix" from Chabrier's Le roi malgré lui, performed in happy harmony with Amanda Nelson.

From Massenet's Cendrillon, we heard soprano Blair Cagney and mezzo-soprano Daniela Magura as the happily reunited couple in "Vous êtes mon prince charmant". Ms. Magura also had another opportunity to show off her fine French in "Nuit paisible et sereine" from Berlioz' Béatrice et Bénédicte. In our opinion, this gorgeous duet rivals "The Flower Duet" from Delibes' Lakmé and we hope to hear it again soon. 

So many fine singers have come out of this excellent program! We predict glorious futures for these young artists if they take what they've learned and use it well.  Great teachers present students with opportunities. Great students take what they need and incorporate it.

(c) meche kroop

A CHORUS OF CELLOS

Elad Kabilio, Grace Ho, Luke Krafka, and Caleb van der Swaagh

One speaks of a herd of cattle or a pride of lions, but what does one call a group of cellos? For want of a better collective noun, we have decided upon a "chorus of cellos" since they sing in different voices.  If one of our readers can come up with a better collective term, please address the issue in the comment section.

The voices we heard last night at Elad Kabilio's "Music Talks" were magnificent. At the upper end of the register we are reminded of "head voice" in a soprano and at the lower end of the register we feel the resonance in our body that we feel when a bass is singing.

In the works we heard that were arranged for this unusual grouping of instrumentalists (not unusual for Mr. Kabilio however) voices were distributed among the four players-- but not consistently. Each player had opportunities to play the upper, middle, and lower voices.

Although the entire evening revealed a stunning array of Latin American music, the part of the program that left us bedazzled was soprano Larisa Martinez' heartfelt performance of Manuel de Falla's Siete Canciones Populares Espanolas. We have lost track of the number of times we have written about this cycle of songs but last night's performance was like hearing it for the first time.

Ms. Martinez' warm timbre and commitment to the text brought the emotions straight to the heart--and emotions there were aplenty! She brought out the irony of "El pano moruno", the lighthearted attempt of  "Seguidilla Murciana" to hide a broken heart, the sorrow of "Asturiana" (our personal favorite", the rapture of young love in "Jota", the peacefulness of the lullaby "Nana", and the pain of loss in "Cancion" and "Polo". The songs are brief but the feelings intense.

What was particularly remarkable about this hearing of something familiar was not only Ms. Martinez' memorable performance but that the work, composed for voice and piano, was arranged for voice and four cellos by composer Dina Pruzhansky, who also changed the key. This brought an entirely new texture to the work. It was like returning home after a vacation and finding that a designer had come in your absence and done a marvelous renovation.

Ms. Martinez closed the program with a selection from Maria la O, a zarzuela composed by Cuban Ernesto Lecuona.  What a gorgeous aria and so magnificently performed! All we can say is if we don't get to see a zarzuela presented soon in toto, we will have to do it ourself! 

Ms. Martinez went to Cuba last year as part of an artistic delegation from Turn Around Arts, which was established by Michelle Obama. (And what is the present FLOTUS accomplishing???). We are sure she dazzled the Cubans the same way she dazzled us.

Our first love is always vocal music but the instrumental part of the program was the source of great pleasure for us and for our guest who was unfamiliar with classical music but is now a convert. There is something about four cellos that will do that every time!

What is unique about Music Talks is the enthusiastic manner in which Mr. Kabilio presents the works on the program, instructing audience members in a non-academic fashion on what to listen for--i.e. the five beat measure of the folk-inflected Zortzico of Catalunyan composer Isaac Albeniz, the layered melodies of Argentinian Astor Piazzola, and the intricate manner in which Brazilian composer Heitor Villa Lobos melded Bachian structure with the color of his native folk music.

What a satisfying evening! If you have never attended a Music Talks event, you might consider their upcoming recital in which Metropolitan Opera tenor Aaron Blake (of whose voice we are very fond) will join the string quartet for some exciting music making. Put October 26th on your calendar! And we will also mention that the atmosphere is informal -- up close and personal--just the way we like it!

(c) meche kroop

BARE, NOT BARE

Cast of Bare Opera's scintillating production of Mozart's Die Zauberflote

Under the directorship of Min Lew, Bare Opera has assumed an important position within the New York opera scene. We'd call it a case of truth in advertising when an institution fulfills its objectives.  Buzz words like "alternative", "minimalist", "immersive", "intimate", and "visceral" can be tossed around as a cover for "cheap" but Bare Opera lives up to its mission so effectively that we would follow them anywhere, even to a walk-up loft, hard by the toxic Gowanus Canal.  If we were not otherwise engaged we would return for the performances tonight and tomorrow night. That's how highly we esteem their production of Mozart's Magic Flute!

It is a fine thing to strip an old warhorse of its cliches, as long as you preserve the spirit of the piece and the glorious music. To fill the work with superlative musical values and a sense of intimacy compensates for the lack of imposing sets and a huge chorus. As a matter of fact, it is just that ponderous group of Sarastro acolytes that has bored us in the past. By contrast, last night's production of Mozart's Die Zauberflote felt fresh and original.  The only thing that was bare was the stage, furnished only with a couple of benches.

The original twist that occurred at the end seemed so right and organic! But we do not want to spoil the surprise for you since you, dear reader, will feel compelled to beg, borrow, or steal a ticket by the time you finish reading!

Under the baton of Maestro Teddy Poll, the 9-person chamber orchestra captured all of Wolfie's wonderful tunes with Music Director Laetitia Ruccolo as pianist. Special mention is due flutist Mira Magrill.

The singers were exceptional, most of them having been on our radar for some time. The stunning soprano Larisa Martinez enchanted us as the Princess Pamina. Her voice--velvety with a steel core--perfectly portrayed the character who moves from helplessness to self-determination. She was remarkably moving in "Ach, ich fuhl's".

Her Prince Tamino was performed by the promising tenor Andrew Zimmerman who has a lovely pianissimo; he created a believable modern day prince, searching for what is good, truthful, and right.  A delightful twist was having Pamina secretly witnessing his viewing of her photo and deciding that she was the right one for him. He delivered a lovely "Dies Bildnis ist bezaubernd schon". We of the audience were just as enchanted by his singing as he was over the photo.

As the formidable Queen of the Night, soprano Yungee Rhie fearlessly tacked both very difficult arias, letting loose a volley of vocal fireworks; she managed to bridge the inconsistencies of being a caring mother and trying to get her daughter to commit murder.

Baritone Suchan Kim made a marvelously engaging Papageno with his mellow voice and humorous manner. He made a fine representation of "Everyman". We loved the moment when his intended bride Papagena (Breana Stillman) ripped off her old lady mask; he had quite a reaction. Their duet was adorable.

The three ladies were exceptional--Liana Guberman, Kirsten Scott (also serving as Artistic Director of Bare Opera), and Inbar Goldmann. The scene in which they fight over the unconscious Tamino is always one of our favorites and we can't say we have ever heard it sung better or acted more humorously. What exquisite harmonies!

As Monostatos, tenor Francisco Corredor turned in his typically terrific performances as he threatened poor Pamino with unwanted sexual overtures. When caught he was on his knees begging for mercy from Sarastro, sung by the sturdy bass Do Jin Jung.

More beautiful harmonies were heard from the three helpful spirits--Sacha Bloch, Grace Mosley, and Alexandra Miller.

Sarastro's armored men were well played by Colin Whiteman and David Charles Tay.

Singing was done in practically perfect German and we didn't miss a word. Dialogue was spoken in English which was mostly understandable but presented a challenge for those whose native language is not English.

Justin Griffith Brown's stage direction was effective. Seats were set up along two adjacent sides of the square room of the Gowanus Loft, giving the audience good sight lines and leaving plenty of room for the performers to interact. Being up close and personal made a major difference in our connection with the characters, our perception of the opera, and its philosophical underpinnings.

In place of imposing sets, we had the evocative lighting of Anthony Tornambene which made use of color washes on the two walls, which did a great job of setting the mood of the scene.

Isa Rodrigues' costumes were contemporary, simple, and relevant. Pamina was dressed in a long white dress which emphasized her purity. Tamino was in normal street attire. Sarastro wore all white to emphasize his spiritual orientation. Monostatos wore a raincoat, lending a reference to sexual deviancy. The Three Ladies sported otherworldly face paint. The Three Spirits wore pinwheel caps and clown makeup. The armored men wore angularly sculpted masks.

Mozart wrote this "singspiel" in 1791, shortly before his death. The libretto was written by his friend Emanuel Schikaneder, apparently influenced by the philosophy of The Enlightenment and by Masonic symbolism. It became an instant success and no one seemed to mind the rampant sexism. Mr. Brown's direction included a twist that we enjoyed which put the work squarely in the 21st c.  The work has always lent itself to directorial innovations, not always successfully.  We suspect that if Wolfie himself had been present last night he would have joined in the thunderous approbation given by the audience.

We might add that the audience was far younger than that which we customarily see at the opera. If anyone wants to know how to make opera relevant to millenials, pay attention! Clear away the cliches, say something relevant, and cast young up-and-coming singers. That Bare Opera keeps ticket prices affordable for young folks implies that support must come from those that care about opera's survival. www.bareopera.org/donate!

(c) meche kroop

BARE SHARES

Sean Christensen, Colin Whiteman, Kristina Bachrach, Kirsten Scott, and Inbar Goldmann

It was a night of sharing. The Lyric Chamber Music Society of New York and Bare Opera Company joined forces and audiences to present a compelling evening of arias at the beautiful Kosciuszko Foundation townhouse on the Upper East Side. The singers shared their gifts and the audience shared their applause. And at the conclusion, artists and audience shared a lovely repast.

Bare Opera is barely two years old and we've written about them several times. They present innovative versions of operas in unusual venues. A new audience is drawn by the quality of their work, the intimacy of the productions, and the artistry of their singers. Music Director Laetitia Ruccolo was one of the founders and did an exemplary job of accompanying the singers.

Most of their regular singers are known to us and highly valued. Lest we show favoritism, let us describe the program in sequence. Almost the entire ensemble was introduced in the lively "Bevo al tuo fresco sorriso" from Puccini's La Rondine.

"Aprite, presto aprite" from Mozart's Le Nozze di Figaro gave soprano Kristina Bachrach's Susanna the opportunity to chase Kirsten Scott's Cherubino around the playing area, to the audience's amusement. This is a wonderful scene to introduce newbies to the opera and we suspect there were a few newbies in the audience.

Star soprano Larisa Martinez performed the soulful "La Maja y el Ruisenor" whilst Ms. Ruccolo provided plenty of Latin flavor from the piano. It was indeed a chorus of nightingales, one vocal and one instrumental.

Ms. Scott returned as the bratty boy of Maurice Ravel's L'enfant et les Sortileges, which was Bare Opera's first production. The superb lyric tenor Sean Christensen portrayed the Chinese Teapot with mezzo Inbar Goldmann reprising her role as the Chinese Teacup; they were very funny. Kristina Bachrach also reprised her role as the forlorn Princesse who confronts that bad boy with the consequences of his bad behavior.

Tenor Sungwook Kim sang the well known "Una furtiva lagrima" from Donizetti's L'elisir d'amore.

The very humorous scene from Mozart's Die Zauberflote brought onstage the Three Ladies--Ms. Bachrach, Ms. Goldmann and Ms. Scott, to take the lock off Papageno's mouth and to present him and Tamino with the Magic Flute and Magic Bells. Bass-baritone Colin Whiteman made a perfect Papageno whilst Mr. Christensen made a terrific Tamino.

From Rossini's first opera, recently presented by Bare Opera, Ms. Scott and Mr. Whiteman reprised their roles as servants Clarina and Norton. What a joy to be reminded of that delightful production.

You, dear readers, will be the first to know that Die Zauberflote will be given a highly original production by Bare Opera in a highly unusual venue--on June 1st, 2nd, and 3rd. We just heard coloratura soprano Yungee Rhie sing "Der Holle Rache kocht in meinem Herzen" and you will not want to miss her fabulous fireworks!

Ms. Martinez gave a sparkling account of "Je veux vivre" from Gounod's Romeo et Juliette, and was joined by her romantic Romeo Mr. Christensen for "Ange adorable". If that didn't melt your heart, you must have a stone in your chest!

The gorgeous trio from Mozart's Cosi fan tutte, "Soave sia il vento" was harmonized beautifully by Mr. Whiteman as Don Alfonso, Ms. Martinez as Fiordiligi, and Ms. Scott as Dorabella.

The program closed with "Arpa gentil" from Rossini's Il Viaggio a Reims. In this scene, all the characters are mesmerized and entranced by the offstage voice of Corinna (Ms. Martinez).  Guess who else was mesmerized and entranced!

There were two lovely touches to the evening. One was that the cast members alternated in introducing each upcoming aria with a description of what was happening. No newbie could have felt left in the dark.

The other touch was that the women's gowns were provided by Shoperatic, the Opera Diva Dress Collection, which we believe recycles gowns for opera singers.  What a great idea!

We would not be at all surprised if some of the chamber music lovers in the audience have become opera lovers. All it takes is an evening of good performances.

We have the upcoming Die Zauberflote on our calendar already. And so should you.

We would also like to share one more idea with you. If you are inclined to rebel against the upcoming cuts to the NEA, do make a donation to this excellent young company...www.bareopera.org/donate.
If the arts are to survive, it is up to US.

(c) meche kroop

WHILE MY GUITAR GENTLY....SINGS

Colin Davin, Elad Kabilio, and Larisa Martinez

You may observe that in the photo above Mr. Kabilio is blurry whilst Mr. Davin and Ms. Martinez appear rather sharp. The reason is that we do not have a fast enough lens on our iPhone and Mr. Kabilio never stops moving! Indeed this young man is always on the move. Gifted not only as a cellist but as an educator and a producer, the kinetic Mr. K. started Music Talks about six years ago and we have watched his audience growing until they outgrew their venue. Their new home is Interface, a spacious loft-like space on W. 30th St. Nothing pleases us more than seeing a Sold Out sign in connection with classical music.

In case you hadn't noticed, there is a quiet revolution going on the classical music world, one in which young artists are starting their own companies and presenting music in unusual venues in order to attract new young audience members. People who are reluctant to buy costly tickets to concert halls or invest huge amounts of money in subscriptions can more readily be tempted to attend a more casual venue for a modest entrance fee.

An advantage of this sea change is that unusual and highly specialized programs can be presented.  We are indeed in an era of specialization of taste.

Mr. K. certainly has his finger on the pulse of his audience and plays them as adroitly as he plays his cello, and that's saying a lot. He did not play the cello last night at Interface but rather put on his educator's cap and shared his ebullient enthusiasm with the comfortably seated audience.  The 90 minutes flew by and if you didn't leave with your feelings fulfilled and your brain stimulated, there is something wrong with you.

The subject of the evening was "Guitar Stories: Spain" and Mr. K. brought together two amazing artists to give us an evening as tasty as tapas. Celebrated guitarist Colin Davin immersed himself in the sounds of Iberia which Mr. K. explained is really many countries in one, revealing multiple influences from its neighbors. If the tour was too brief, then we travelers can explore further on our own.

Isaac Albeniz composed at the end of the 19th c. and, although he composed his Op. 232 for the piano, most people recognize it from its guitar transcriptions, probably most successfully accomplished by Andres Segovia. The key has been transcribed from G minor to E minor. The introduction, originally intended as a Preludio to a suite entitled Chants d'Espagne, was retitled by the publisher as "Asturias". However, to our ears, it is most definitely Andalusian in spirit.  Indeed we recognize one of the rhythms as a buleria.

Mr. Davin began pianissimo and built to an exciting intensity that brought the vigorous foot stamping of flamenco to mind. The insistent thematic repetition made it impossible to forget, and as the theme ascended the scale the excitement grew, with a more tranquil middle section providing a respite.

The fifth section of the work is entitled "Cordoba" and was given a soulful introduction. We particularly liked the quiet chorale-like section.

Federico Mompou, a Catalonian, did write for guitar and we heard selections from Suite Compostelana, commissioned by Segovia himself. Santiago de Compostela, the capitol of Galicia, is the culmination of a famous Christian pilgrimage in Northwest Spain. The "Preludio" shows the influence of nearby France whereas "Muineira" with its duple meter shows the Celtic influence on the area. Yes, the guitar can sound like bagpipes and yes, we did feel like dancing!

Poor Antonio Jose, executed at 34 during the Spanish Civil War, produced some fine music before he died.  His Sonata for Guitar has its organizational foot in Neoclassicism but its emotional foot (or heart, as it were) in Impressionism. He paid tribute to his teacher Maurice Ravel in "Pavana Triste" which had a limping rhythm reminding one of sobs. Mr. Davin's fingerwork in the Finale was rapid fire.

The culmination of the evening was Manuel de Falla's Siete Canciones Populares Espanolas, a piece that was written for soprano and piano. Although that is the way we are accustomed to hearing it, we loved the way it sounded on the guitar which was an equal partner to the lovely Larisa Martinez' luscious soprano. Her exquisite tone and clear diction conveyed the meaning of the text with Mr. Davin's guitar supplying the witty subtext. The songs are concise and pungent with ample opportunity to change mood by color and texture.

Our only quibble was that the seven songs were not performed as a unit, as they are meant to be. The cycle was interrupted twice for Mr. K. to explain the songs to the audience, which broke the mood. We believe this was a well-intentioned attempt to educate the audience and we do understand that people's attention spans are growing shorter by the megabyte, but the cycle begs to be heard in one piece!

(c) meche kroop

BACK TO BACH

Elad Kabilio and Larisa Martinez

We have been writing about Larisa Martinez and her gorgeous soprano for a couple of years now and have enjoyed her performances in opera, song, and zarzuela.  We have also been writing about Elad Kabilio and his unique MUSIC TALKS  for some time.  The pairing of these two talents is an exciting one.  Last night's recital at Interface (an unusually comfortable venue with great acoustics and couch seating) was an extension of one we heard a year ago.

Cellist/impresario/educator Elad Kabilio presented a captivating program exactly one year ago that demonstrated the influence of J.S.Bach on the Argentinean composer Astor Piazzolla. We confess to never having enjoyed or understood Bach's highly intellectual music until Mr. Kabilio, in his educator hat, demonstrated what a fugue was by utilizing his cohort of cellists.  But, just as Steven Blier has expanded our appreciation of song beyond those of the 19th c., so Mr. Kabilio has expanded our appreciation of instrumental music in similar fashion.

Bach wrote Die Kunst der Fuge just for fun; it was not commissioned.  He never specified which instruments should be employed.  In this case, the four voices were distributed among four cellos and each cellist was given different voices from time to time, so the adventure would not fall on only one pair of arms. The result is complex but accessible with voices layered upon voices.

The "Contrapunctus" XIV" in D minor was the last one he wrote and it was never finished. Performance tradition includes a chorale at the end which resolves into D major, leaving the listener satisfied.  Uncharacteristically, aside from the original theme, two new themes were included, the second of which spells out B-A-C-H (we are not sure what note H represents). Was Bach pulling our collective leg?

Piazzolla was a 20th c. composer and, having been introduced to the concept by Mr. Kabilio, it became clear how he was influenced by Bach. Mr. Kabilio and his three gifted colleagues (Grace Ho, Talya Buckbinder, and Caleb van der Swaagh) had a great time with the energetic and syncopated fugue which was followed by a slow section (Misterio).  When a short demonstration without the syncopation was played one could readily appreciate the Bach-ness of it all.

We enjoyed the traditional tango "Oblivion" which involved a lot of plucking and a compelling three note ascending motif.  But our favorite was "La vi llegar" which made us want to get up to dance the tango. The pizzicato playing was stirring to say the least.

The Brazilian composer Heitor Villa-Lobos was next on the program, fulfilling the promise of the program Bach in Brazil II. The early 20th c. composition Bachianas Brasileras No. 5 is ineffably lovely and we were thrilled with the opportunity to hear Ms. Martinez perform it once more, so immersed is she in this music.

The beginning aria, the Cantilena, has Portuguese lyrics but our joy is maximized in the vocalise since no words are needed to convey such deep emotion as Ms. Martinez expressed. The spirited Dansa (Martelo) is followed by humming which seems very difficult to achieve in the upper register but Ms. Martinez demonstrated how she uses the "ng" position of the tongue.

The final work on the program sent us over the moon.  Cuban composer Ernesto Lecuona wrote the one-act zarzuela Maria La O in 1930. The plot is a sad one in that the mulata Maria bears the child of an aristocrat who marries within his own social class. This zarzuela was popular in Puerto Rico, where Ms. Martinez was born and her performance showed both fine technique and depth of feeling. We enjoyed Ms. Buckbinder's tremolo accompaniment.

The audience for MUSIC TALKS is growing rapidly and all the couches were occupied. The audience seems delighted by the intimacy and informality, as well as the educational aspect. If you have end-of-year donations to make, this would be a great group to consider.  Their next event will be a world-famous harpist on January 24th. What a way to celebrate our birthday!

(c) meche kroop

BARE OPERA GIVES GREAT GALA

Bare Opera Gala (photo by Gustavo Alberto Mirabile)

STANDING

Suchan Kim

Francisco Corredor

Briana Hunter

Sungwook Kim

Larisa Martinez (Gala host)

Joshua Bell (Gala Host)

Liana Guberman

Justin Brown (stage director)

SEATED

Laetitia Ruccolo 

Min Lew (Bare Opera General Director)

Kirsten Scott

Life in New York can be tense, stressful, and competitive!

Life on Planet Opera is warm, relaxing, and mutually supportive!

Take, for example the gala evening offered by Bare Opera, one of our highly treasured small companies. Hosts for the evening were the wildly talented and gracious Joshua Bell and the equivalently talented stunning soprano Larisa Martinez, toward whom we have oft tossed journalistic bouquets.  The venue was their lavishly appointed triplex that seems to have been designed for this type of event.

The room was packed with lots of luminaries from Planet Opera and everyone was there to share in the good will, imbibing champagne and a generous spread of edibles both before and after the musical portion of the evening.

Guests had the opportunity to hear four rising stars-- soprano Liana Guberman, mezzo-soprano Kirsten Scott, tenor Sungwook Kim, and baritone Suchan Kim-- in a tempting program of arias, duets, and ensembles. We use the word tempting because guests were indubitably tempted to order tickets for Bare Opera's upcoming Cambiale Matrimonio, written by Rossini at the tender age of 18.  (And what's YOUR 18 year-old doing with his free time, LOL?)

Francisco Corredor, himself a talented character tenor, served as Master of Ceremonies and introduced each number with style and humor. Justin Brown staged the evening, utilizing the space well, including the staircases; the singers were mysteriously masked.

Singers were accompanied by a trio of musicians with the lovely Laetitia Ruccolo playing the piano, cellist Elad Kabilio (famous for his "Music Talks"), and violinist Omer Ashano who was responsible for arranging the music along with Ms. Ruccolo.

The program was wisely chosen to include audience favorites--entirely suitable for a light-hearted evening. "Pronto io son", from Don Pasquale, involves Dr. Malatesta (Suchan) coaching Norina (Liana) on her portrayal of his convent-educated sister. The couple did justice to Donizetti's tuneful music.

Mozart got a happy hearing as well.  From Nozze di Figaro, we heard "Aprite, presto, aprite" with a frantic Susanna (Liana) trying to get rid of Cherubino (Kirsten) before the Count discovers his presence in the Countess' bedchamber.

From Mozart's Don Giovanni, Suchan performed the lovely serenade "Deh vieni alla finestra".  From Cosi fan tutte, Fiordiligi (Liana) and Dorabella (Kirsten) bade farewell to their departing lovers along with Don Alfonso (Suchan) in the trio "Soave sia il vento".

Rossini was also represented on the program with "Zitti, zitti, piano, piano" from Il Barbiere di Siviglia" with Kirsten as Rosina, Suchan as the eponymous barber, and Sunwook as Count Almaviva. For the finale, the entire cast joined forces for more Rossini--the quartet "Arpa gentile" from Il Viaggo a Reims.

In the hands of Ms. Scott, the event went smoothly and artistically.  We would expect no less from this fine company and have already planned to attend Rossini's early opera which will be performed November 4th, 5th, and 6th.  And so should YOU!

We love opera that is informal and accessible and, also important, affordable!

(c) meche kroop

MUSIC TALKS

Elad Kabilio, Grace Ho, Larisa Martinez, Oded Hadar, and Caleb van der Swaagh

 

 

 

We escaped from the crowds and chaos of Cyber Monday to spend a pleasant hour with some marvelous musicians.  We learned.  We listened.  We relaxed.  We arrived stressed out and we left feeling soothed. We felt entertained as well as educated.

MUSIC TALKS has a mission: to bring music to an intimate and informal setting, to break down the barriers between musicians and audience, to expose audiences to chamber music in small doses. The experience would be a perfect one to introduce someone to the joys of classical music; it does not, however, insult the intelligence of those of us who already love music.

For example, as lovers of 19th c. vocal music and opera, there is a great deal about instrumental music we don't know and a great deal of pre-Classical music that we haven't appreciated. Without delivering an entire dissertation, cellist Elad Kabilio introduced the audience to J.S. Bach's Die Kunst der Fuge, composed toward the end of Bach's life.

We never really understood what a fugue was but Mr. Kabilio easily explained how it differs from a canon and proceeded to illustrate--the subject was played by one cello, the slight variation played by a second one (the variation for harmonic purposes), and the original subject entering the scene played by a third cello.

Apparently Bach worked out this puzzle meticulously without ever indicating for which instruments  it was intended.  To our ears, it sounded just right with four cellos!  Mathematics became music and pleased our ears as the strands were woven together into an harmonious whole.

Even more enjoyable was Bach's Aria from Pastorale in F Major which was surprisingly lyrical.

The tangos of Spanish composer Isaac Albeniz (turn of the 20th c.) and Argentinean composer Astor Piazzolla (mid-20th c.), whose works we have only heard on the bandoneon, were performed as well, arranged for four cellos. In "Mocosita" there was plenty of legato bowing and staccato plucking. We felt like getting up to dance.

But the highlight of the concert was a second hearing of the"Aria" and "Dansa" from Heitor Villa Lobos' Bachianas Brasileras No. 5 sung by soprano Larisa Martinez and arranged for four cellos by Mr. Kabilio. (Villa Lobos wrote this tribute to Bach for 8 cellos.) The program was called Bach in Brazil and it was interesting to hear the echoes of Bach in Villa Lobos' composition.

We had so greatly enjoyed Ms. Martinez' performance of this work two weeks ago that we were most eager for her repeat performance. We are partial to the Cantilena sung on the open vowel "ah". No words were needed to convey the depth of feeling.

For the month of December we have decided to highlight the possibilities of supporting every small company we write about so that our readers can find something better to do with their Xmas funds than buying someone an ugly sweater.  Better to give the money to a worthwhile enterprise and make your loved ones happy with a hug!  So here is the URL...www.Music-Talks.com. Please give!

(c) meche kroop

LARISA MARTINEZ AND FRIENDS

Larisa Martinez and Suchan Kim

We have enjoyed the operatic performances of versatile soprano Larisa Martinez for the past two years-- a winsome Barbarina in Mozart's Nozze di Figaro, the larger than life Musetta in Puccini's La Bohème,  Fire in Ravel's L'Enfant et les Sortilèges, and Giulietta in Bellini's I Capuleti e i Montecchi. So it was no small thrill to experience an entire evening of her performances at the old world townhouse of the Kosciuszko Foundation, presented by the Lyric Chamber Music Society of New York.

The program was wisely designed to show off Ms. Martinez' many assets but also included the artistry of splendid baritone Suchan Kim, whose Mozart we have heard and appreciated, and four cellists, with the superb accompanist Laetitia Ruccolo at the piano.  As if this were not enough we also got to see some fine Spanish dancing from Elisabet Torras Aguilera.

Ms. Martinez appears to have it all--a beautiful and stylish appearance, a warm stage presence, fine technique, and a most attractive sound with just the right amount of vibrato. We enjoyed her most in the operatic works, virtually swooning over "Eccomi...Oh Quante Volte" from the aforementioned Bellini, in which the doomed Giulietta despairs of the marriage planned for her and longs for the distant Romeo.

Bellini's long lovely phrases were exquisitely rendered. The fioritura was florid and delivered in ringing tones. High notes were beautifully spun out and dynamics used effectively for emotional impact.

Two duets with Mr. Kim were extraordinary from both vocal and dramatic standpoints. From among many possibilities of soprano-baritone duets, the choices were perfect. In "La ci darem la mano" from Mozart's Don Giovanni, Mr. Kim was a sly seducer and Ms. Martinez an ultimately compliant Zerlina.

Mr. Kim has a substantial sound and fine phrasing and easily switched gears to become the unfortunate Rigoletto patiently listening to Gilda's recitation of her seduction/rape by the Duke. He clearly showed Rigoletto's inner turmoil while he attempted to comfort his beloved daughter.  It was a real heart breaker and Ms. Martinez switched easily from the minx in the previous scene to the betrayed young woman in the second.

We experience Ms. Martinez as more of an opera singer but that doesn't mean there was any fault in her lieder singing. We might have preferred a less operatic sound for Brahms' simple folksong "Botschaft", but we enjoyed hearing Clara Schumann's "Liebst du um Schonheit" and were better able to put Strauss' setting  out of our ears than we were the first time we heard it.

But the best lied was the meditative "Nacht und Träume", one of Schubert's finest, as she eased up on power and volume, respecting the lovely text.

Hugo Wolf's "Erstes Liebeslied Eines Mädchens" has its frisky double entendres and Ms. Martinez captured them with a sly smile.

We had just heard mezzo-soprano Isabel Leonard sing the 15th c. Spanish folksong "Las Morillas de Jaen" and it was great to hear it once again. The graceful dancer Elisabet Torras Aguilera added her terpsichorean skills, casting aside the castanets she used in Isaac Albeniz' "Sevilla" in favor of a fan, which only Spanish women know how to employ so effectively. She also danced through the cute Obradors song "Chiquitita la novia".

Following the dancing, four cellists made their entrance and proceeded to play "Fugue #1" from Bach's The Art of the Fugue. Elad Kabilio was reviewed last week but Grace Ho, Oded Hadar and Caleb van der Swaagh were new to us.  We have never heard four cellos in ensemble but Mr. Kablio did a fine job of arranging; the variety of tone was impressive with bowing and plucking bringing out the different voices.

The four cellists remained to accompany Ms. Martinez as she sang more of Villa Lobos' "Bachianas #5" than we have ever heard before. We still prefer the vocalise section which allowed us to focus on the singer's purity of tone.

As encore we heard a selection called "La Petenera" from Moreno Torroba's 1928 zarzuela La Marchenera. Those who read us will recall how fondly we think of zarzuela.  Again, our greedy ears want to hear the entire work!

IT'S CLASSIC, IT'S LYRIC, IT'S ARTISTIC--IT'S CLASSIC LYRIC ARTS!

Artistic Director of Classic Lyric Arts Glenn Morton and his talented group of young artists

A gala is defined as a social occasion with special entertainments or performances, a festive celebration-- and that is exactly what transpired last night when Classic Lyric Arts celebrated its young artists and entertained those denizens of Planet Opera fortunate enough to be at the annual Fall Benefit Gala.

For those of you who don't already know, CLA runs two highly esteemed programs which aim to advance the careers of young singers by on-site immersion in the cultures of France (L'Art du Chant Français) and Italy (La Lingua della Lirica). Everything is covered--diction, style, repertoire, stagecraft, and career development. The students are also given international performing opportunities.

Filmmaker August Ventura has documented these programs for anyone to witness the magic that takes place, and we have attended some of the master classes taught by some truly brilliant teachers who brought out the best in their students.

We will come to the entertainment part of the evening shortly but first we wanted to comment on the tribute given to the program by former student Dorothy Gal who shared with the audience some charming stories about the training she received. She was not the only alumna present. These young artists develop a strong loyalty to the programs and a deep attachment to Artistic Director Glenn Morton.

As far as the singing goes, we were royally entertained as the students showed off their newly acquired artistry.  Beautiful soprano Mikaela Bennett, fresh out of the Italian program, provided a splendid performance of "O, mio babbino caro" from Puccini's Gianni Schicchi.

There was a sparkle in her top notes and plenty of pleading, enough to convince her poppa to give her anything she wanted. We just recently heard her for the first time with Steven Blier's "Sing for your Supper", singing cabaret in English. It was quite a treat to learn of her skills in Italian.

We adored mezzo-soprano Kady Evanyshyn's lovely performance of "Connais-tu le pays" from Ambroise Thomas' Mignon  for its long lyrical phrases and fine French style. This gave firm evidence of her hard work in both programs.

Does anyone not love "Ah! mes amis" from Donizetti's La fille du régiment? One tends to hold one's breath waiting for the tenor to nail those high C's and Vincent Festa tossed them off without a sign of strain. High notes aside, the aria was delivered with beautiful tone and apt sincerity.

We always love a good duet and the lovely Larisa Martinez paired with baritone Suchan Kim for "Tutte le feste al tempio" from Verdi's Rigoletto. The pair sounded excellent together and succeeded in conveying all the pathos required. Ms. Martinez' voice opens up beautifully on top and Mr. Kim has a full tone with a great deal of depth.

Vera Kremers sang "Youkali" by Kurt Weill and made every word count.  Even at the top of her register, we understood every word. This was perhaps the best French diction we have ever heard from someone not born in France. Her bright voice was firmly grounded. We would have liked a bit more emphasis of the tango rhythm but we got plenty of that from Laetitia Ruccolo's piano.

The quartet from Puccini's La Bohème is a wonderful showpiece. Rodolfo and Mimi have a tender moment while Marcello and Musetta are having a knock-down drag-out fight. Soprano Nadia Petrella gave us a tender well-modulated Mimi with tenor Matt Greenblatt a fine Rodolfo. Ms. Bennett returned as Musetta with baritone Bret Thom as Marcello. These four graduates of the Italian program perfumed the air with virtual garlic. Michael Sheetz was the excellent accompanist.

Händel's opera Serse is one of the composer's best. In "Va godendo/Io le dirò", the role of Serse, usually sung by a mezzo-soprano, was sung by Gon Halevi while Jordan Rutter sang the part of Arsemene, which is also generally sung by a mezzo-soprano. In a kind of reverse gender-bending, these two countertenors made a special kind of music. It's a fach of which we are very fond and we enjoyed the change.

Soprano Tamara Rusque gave a moving performance of Cio-Cio San's big aria of self-delusion--"Un bel di vedremo" from Puccini's Madama Butterfly. Her big rich sound has an impressive resonance and her acting skills were convincing.

Dongling Gao left the European world behind and graced us with a lovely Mandarin love song accompanied by Jia-Jun Hong. And finally, three handsome dudes performed the trio from On the Town by Leonard Bernstein.  Michael Stewart accompanied while Mr. Greenblatt, Mr. Thom, and Jon Thierer had a marvelous time with it; the joy was reflected on the faces of the audience.

We want to give three cheers to the programs, the artists, and to Glenn Morton.  So....hip, hip, hooray.  Or as we say nowadays, WOOT!

(c) meche kroop

THE BOHEMIANS OF BUSHWICK

Won Whi Choi as Rodolfo, Liana Guberman as Mimi

Our trek to Brooklyn on a rainy Friday night was amply rewarded on two accounts.  For one thing, the performance of Puccini's La Bohème by Loft Opera was novel and gripping; for another, it warmed our hearts on that chilly night to see three hundred young audience members in rapt attention to the trials and tribulations of characters with whom they could identify.  When we could tear our eyes away from the action, we observed the faces of the audience members, laughing at the hijinks of the quartet of hipster/artists in Act I and later in Act IV verging on tears over Mimi's death.

This may be considered a site-specific work, staged as it was in a large chilly industrial space with makeshift lighting.  Audience members drank beer and wine and wandered through the playing area where Rodolfo was sitting at his typewriter and Marcello was painting a mural on the floor.  This clearly set the stage for the drama to follow and evoked feelings of intimacy with the singers.

The musical values were superb all around.  Conductor Dean Buck led his 21 fine musicians in a reduced score (uncredited) that made fine musical sense.  The young singers all had fine healthy voices and keen dramatic instincts.  Soprano Liana Guberman made a touching Mimi as her voice rose to dramatic heights when called for and lowered for moments of intimacy with Rodolfo, performed by the excellent tenor Won Whi Choi who showed a natural ardency of expression and fine technique.

His best bud Marcello was portrayed by the robustly voiced baritone Joshua Jeremiah whose infatuation with the fickle Musetta led to passion and jealous rage.  Musetta was given a believable characterization by Larisa Martinez whose excellent voice delivered "Quando m'en vo" with high style.

Baritone Pnini Grubner made an effective Colline; his farewell address to his overcoat is, for us, one of the highlights of the opera and of the baritone canon.  Joel Herold performed the musician Shaunard who "brings home the bacon"--apparently the only member of the quartet who can earn money.

The roles of Benoît and Alcindoro were combined and played by Paul An.  This was one of many interesting directorial concepts, some of which worked better than others.  The idea of the wealthy landlord stepping out with his tenant's girlfriend really complicates the issue of lover's rage, especially when the tenant can't pay his rent.

Between Creative Director Daniel Ellis-Ferris and Stage Director Laine Rettmer we were unsure who was responsible for the parakeet that was slaughtered but we were assured that no fauna was harmed in the production and it was just an illusion!  But that really was a huge white balloon standing in for the moon that was burst.

We are pleased to tell our readers that there will be three further opportunities to join the six hipsters onstage and to suffer through their difficult lives while listening to Puccini's gorgeous music so well played.  Tonight and next Friday and Saturday nights--if you can still get tickets.  We can guarantee you a fresh look at an old favorite and a truly bohemian experience.  We are not worried about the future of opera when we have companies like Loft Opera!

© meche kroop

CROSSING THE GOWANUS

Kirsten Scott, Liana Guberman and Boya Wei

Did we really spend an hour on the subway and cross the Gowanus Canal to hear a (reported) 100 minute version of Mozart's masterpiece Le Nozze di Figaro?  Yes, we did.  Was it worth it?  YES!  We would have traveled twice as far.  Was it really a severely truncated version?  No, it clocked in at nearly three hours and the judicious editing did nothing to impair the musical cohesiveness nor the comprehension of the delightfully silly plot.  The only things missing were bios of the artists (about whom we wish to know more) and the harpsichord continuo.  Music Director Laetitia Ruccolo did just fine on an electronic keyboard.   Conductor Dean Buck had the 20-piece orchestra well in hand, or in baton as was the case.  The young maestro started Loft Opera with singer/producer Daniel Ellis-Ferris and we feel glad to have gotten on board in time for this weekend's performance and sad to have missed their first effort--Don Giovanni.

The yearling company has succeeded on two counts; artistically and socially.  In an epoch in which young people have shown very little interest in this art form, it was heartening to see a loft bursting at the seams with twenty-somethings who might have been encouraged by the presence of Brooklyn Brewery beer which could be consumed during the performance; but their enthusiasm for the performance knew no bounds and the whoops, cheers and applause at the end left no doubt that they were well on the pathway to opera addiction.

The seats were benches but we weren't squirming.  The shoestring set was nothing more than a chair, a bench, a table.  The costumes made a modest attempt at evoking Spain.  But the commitment of the singers was total.  They had so much fun performing; it was only exceeded by the fun the audience had watching.  Comic turns were everywhere, especially in the case of character tenor Francisco Corredor who put a very personal stamp on the roles of Don Basilio and Don Curzio who had a very funny stutter.

The eponymous hero, sung by Pnini Grubner, was a charming Figaro with his "Se vuol ballare".  His Susanna was the adorable Boya Wei who won our hearts; her final aria "Deh vieni, non tardar" was lovely.  Liana Guberman made a dignified Countess and sang "Dove sono" even better than "Porgi amor".  The philandering Count was sung by Suchan Kim whose spiteful and clueless nature was another source of great amusement.  Kirsten Scott made an appealing Cherubino and did justice to "Non so piu" and "Voi qui sapete".  Yoojin Lee performed the role of Marcellina, making the rapid change from wanting Figaro for her husband to accepting him as her long lost son.  Producer Daniel Ellis-Ferris put in an appearance as the gardener Antonio and also as Don Bartolo who is obliged to accept Figaro as his son and to marry Marcellina.  Larisa Martinez made a winsome Barbarina.

All the voices measured up and we particularly enjoyed the duet between Susanna and the Countess whose voices blended beautifully.  Ensembles were similarly well-balanced.  The opera was directed by Carlos Conde.  The audience was so close to the playing area that we felt like members of the Count's household.  This operatic intimacy is rare and to be cherished.

You could not do any better than to cross the Gowanus Canal this weekend; the opera will be performed again Friday and Saturday night.  It deserves the wide audience it attracted and we hope there will still be tickets left for YOU!

(c) meche kroop