LEAH CROCETTO CARNEGIE HALL DEBUT

Leah Crocetto

FROM CLASSICAL TO JAZZ...guest review by Ellen Godfrey

On Thursday, lyric spinto soprano Leah Crocetto made her Carnegie Hall Debut with a carefully chosen selection of classical art songs and cross-over jazz and blues songs.  She performed in the intimate Weill Concert Hall, a perfect setting for her prodigious voice and her innate ability to communicate each song personally. It was obvious that all of this music is very close to her heart. Her pianist for this concert is one of today’s finest accompanists and soloists, Mark Markham.  He is at home with classical music as well as jazz and other popular music. 

Ms. Crocetto is fast becoming one of the great singers of her generation. She has a big beautiful voice supported by a great technique. She never pushes her voice and is capable of scaling it down when intimacy is required. Her diction in all four languages (French, Italian, Russian, and English), is very clear. In addition to concerts, she has already made her mark performing operas in opera houses around the world.

Ms. Crocetto walked on stage in a beautiful long green dress, and immediately engaged with the audience.  The concert began with four songs composed by the Italian composer Ottorino Respighi. (1883-1945).  When she started to sing, her powerful voice soon filled the hall, washing over the audience with her glorious sound.  She is very much at home singing in Italian. "Nebbie" is one of Respighi’s most popular songs, and she sang it with great intensity. The most interesting song was "Mattinata". Pianist Mark Markham quietly introduced it on the piano with the sound of tolling church bells, setting the mood for the whole song.  As Ms. Crocetto sang quietly, along with the bells, her singing became more joyous as she praised the Virgin Mary.

The second group of four songs was composed by 20th century composer Francis Poulenc. Poulenc engaged Louise de Vilmorin, to write the words for the song called “Violin.” She was familiar with Hungarian nightclubs and Ms. Crocetto ,along with Mr. Markham, performed the song in cabaret style to go with the words. "Les chemins de L’amour" is a waltz that  evokes the long gone happiness of love. Ms. Crocetto sang the waltz tune with good phrasing and a soft gentle French style. 

The third group of songs were by the Russian composer, Sergei Rachmaninoff, who lived around the same time as Respighi. Most of his songs were in the Russian romantic style.“How fair this spot” is a song about peace and tranquility sung in a quiet, dreamy way by Ms. Crocetto, ending in a gorgeous high note. “What happiness” is a fast paced song full of high notes stunningly sung by Ms. Crocetto, conveying the happy state of love.

Following these songs, there was a world premiere of a piece composed by the counter-tenor and composer Gregory Peebles. The title of the work, “Eternal Recurrence,” comes from a  philosophical theory that the universe and all existence and energy has been recurring and will continue to recur an infinite number of times across infinite time or space. The piece is in 10 sections.  The music is very melodic and starts with a piano introduction expressing the first musical theme. There are also some sung recitatives. Mr. Peebles states that travel is at the heart of “Eternal Recurrence.” Ms. Crocetto used her powerful voice and dramatic instincts to introduce this unusual and interesting piece to the audience.

The concert closed with selections from the Great American Songbook with songs composed for musical theatre by the Gershwins, Harold Arlen, Richard Rodgers, and  Sammy Fain.  Ms. Crocetto put her own personal stamp on the songs and it was a revelation for those of us who never heard her in this repertoire. She was spellbinding, singing these songs with a softer, less operatic voice, conveying the sentiments in a very personal way. She really loves these songs and gives you the feeling that she is singing directly to you. Her voice carried throughout the theatre even though she had softened it. She also has the freedom of a jazz singer…taking some liberties with the timing of the music and singing them in her own way.

She sang “The Man I love” in a very dreamy way; “I’ll be seeing you” was very quiet, going from a low register to a high one, singing with a lot of feeling, and “The Man who got away” was very moving.

At the end of the program the whole audience stood up and gave Ms. Crocetto and Mark Markham standing ovations. There were two wonderful encores: Jerome Kern’s “Cant Help Lovin Dat Man of Mine” and Jimmy McHugh’s “I’m in the mood for love” and then more loud applause.

She has certainly now established herself as a wonderful concert singer of both classical opera and crossover jazz and the blues. We can all look forward to hearing her in her next concert, which I hope will be soon.

(c) meche kroop

TRIPPLE WHAMMY AT THE MORGAN LIBRARY

Mark Markham, Leah Crocetto, and Zachary Nelson

Yesterday's torrential downpour did nothing to dissuade us and a hall full of fans from attending the first recital of this season's series at The Morgan Library--a celebration of the human voice produced in collaboration with The George London Foundation for Singers.  The Foundation presents the finest singers of the world's stages for us to enjoy in an intimate environment. They also hold an annual competition giving generous awards to rising vocal stars.

Although the superb collaborative pianist Mark Markham is world famous, this was our first hearing of his consummate and subtle artistry which is remarkable by virtue of not calling attention to itself. On the other hand, we have been thrilling to the vocal gifts of soprano Leah Crocetto and baritone Zachary Nelson for as long as we have been writing and even before.

Ms. Crocetto first captured our attention when we reviewed her performance as Anna in the rarely heard Rossini opera Maometto II. We were dazzled by her artistry in her New York recital debut at the Schimmel Center of Pace University when she used her plush instrument and embracing stage presence in the service of Strauss, Duparc, and Liszt.

Her performance as Donna Anna in Mozart's Don Giovanni was the highlight of the 2016 season at the Santa Fe Opera. All reviews are archived and accessible through the search bar.

Similarly, we have been following the meteoric rise of Mr. Nelson's star. He first came to our attention as an Apprentice Singer at the Santa Fe Opera. His first role there was that of Angelotti in Puccini's Tosca. They were just as impressed as we were, inviting him back to sing the role of Figaro in Mozart's Nozze di Figaro. He was just about perfect.

He delighted us with his comic side in Donizetti's Don Pasquale in which he sang the role of Dottore Malatesta. He continued his connection with the Santa Fe Opera last summer when we heard him as the detestable Enrico in Donizetti's Lucia di Lammermoor.

What a pleasure it is to document the growth and development of these two artists who complimented one another onstage at yesterday's recital!  What they have in common is a total commitment to what they are singing--and the ability to connect with the audience who can then share in their feelings.

But there are differences of approach, both valid. Ms. Crocetto is expansive in her presentation making ample use of gesture, whilst Mr. Nelson is self contained and employs gesture economically.

When the two came together for the penultimate scene of Verdi's Il Trovatore, their individual styles served them well and provided the highlight of the recital. In "Mira, d'acerbe lagrime" poor Leonora pleads Il Conte di Luna to spare the life of her lover Manrico. He is unmoved. Finally she offers her favors for his life. He is moved! But she, faithful to Manrico, swallows poison, in true 19th c. operatic fashion. 

It is quite a challenge to take a scene out of an opera and perform it convincingly, but this pair of artists succeeded brilliantly. We believed every minute and felt every feeling.

Individual performances were also superlative. We have previously reviewed Ms. Crocetto's artistry in Liszt's Petrarch Sonnets and find they suit her well. The obsessionality of Petrarch comes through loud and clear. There are some lovely arpeggi in the piano between the verses of "I vidi in terra angelici costumi".

We also enjoyed the Rachmaninoff songs, especially our favorite Russian song "Ne poy, krasavitsa, pri mnye" with its exotic mournful melody. In "Vokaliz, Op 34, No. 14" we were able to appreciate the warmth and purity of tone and the plethora of overtones that tickled our ears and filled the hall, wall to wall.

Mr. Nelson's individual choices suited his dramatic baritone well. The lower register of his voice seems to be deepening and expanding. Selections from Schubert's Schwanengesang mainly utilized the text of Heinrich Heine. We loved the major/minor shifts in "Das Fischermadchen". The cheeriness of this song yielded to the the grief of "Die Stadt" with the arpeggiated diminished 7th chord lending an eerie feeling.

The grimness of "Der Doppelganger" (just heard two days earlier at a Cantanti Project evening) gave way to the joy of "Die Taubenpost" with text by Johann Gabriel Seidl. Mr. Nelson's German was just about flawless.

Ralph Vaughan Williams' Songs of Travel will never be among our favorites but we did enjoy "The Roadside Fire" and particularly admired Mr. Nelson's excellent diction, something we never take for granted when English is sung.

The final selection on the program was the delightful duet "If I Loved You" from Richard Rodgers' Carousel. When we think of American Art Song, this is what comes to mind, not what is coming out of conservatories. This relates to 20th c. American culture the way Schubert's oeuvre related to 19th c. German culture. Ms. Crocetto and Mr. Nelson performed it so charmingly and so vocally astute that we were swept away.

Both encores spoke to us in similar fashion. Mr. Nelson sang "Some Enchanted Evening" from Richard Rodgers' South Pacific so magnificently that our belief stated above was confirmed. In both cases, the lyrics of Oscar Hammerstein II partnered with Rodgers' music as Heine's did with Schubert's music.

Ms. Crocetto's encore was a very jazzy "Can't Help Lovin' Dat Man" from Jerome Kern's Showboat, with lyrics also by Oscar Hammerstein. Mostly, we don't enjoy "crossover" but this was a very special performance and just might change our minds about jazz. With an incredible artist like Ms. Crocetto bending those notes we were even more convinced of what Steven Blier is doing at his New York Festival of Song, mixing classical lieder with contemporary songs.

A good song is a good song.  And a great singer can make a good song great.

(c) meche kroop

ALL HAIL THE DON AT SANTA FE OPERA

Leah Crocetto as Donna Anna in Mozart's Don Giovanni (photo by Ken Howard)

Nothing matches the thrill of opera when everything comes together.  Apt casting, effective conducting, great singing, respect for time and place, colorful costuming and sets that "stay out of the way".  Last night at the Santa Fe Opera, we saw and heard a Don Giovanni that will remain in our memory, thanks to all the above conditions being met.

Mozart's music is sublime from the portentous opening chords in D minor, leading to a stunningly melodic overture replete with upward and downward scale passages; this lets us know we are in for quite a ride.  Mozart even inserts a private joke toward the finale; the Don enjoys listening to the Count Almaviva's aria "Non piu andrai" from Mozart's own previously written opera Nozze di Figaro. And just listen to the party scene when we hear a sedate minuet for the aristocrats and a lively peasant dance simultaneously!

The opera premiered in Prague in 1787 toward the end of The Enlightenment. The social order was shifting and aristocrats were fair game.  Lorenzo Da Ponte's radical libretto included attempted rape, murder, licentious sexuality and freedom of expression. It also reflects upon an interesting aspect of Mozart's character; Mozart was quite a rebellious rascal himself and refused to repent his behavior, although a controlling father would have had him do so. 

The eponymous Don was portrayed by bass-baritone Daniel Okulitch who not only sang with gorgeous tone and phrasing, but who commanded the stage with great power and presence.  This Don seems to have some self-awareness and has a sense of humor, even when abusing his servant Leporello. We particularly enjoyed his "Champagne Aria" and his serenade "Deh vieni alla finestra"--in which he employed very different coloration.

Leporello was portrayed by bass-baritone Kyle Ketelsen. Mr. Ketelsen, making his debut with the Santa Fe Opera, was just as effective at drawing laughs from the audience as he was at singing. Does anyone not love the "Catalogue Aria"? He portrayed the character as easily bought and ultimately eager to find a less troubling master.

The role of Massetto was given an interesting twist by second-year apprentice Jarrett Ott. This young baritone has star quality written all over him. He not only has a steadfast tone but the ability to create a believable character.  Massetto is usually portrayed as a clumsy simpleton but Mr. Ott's peasant exhibited strength and will, leading to all kinds of interesting variations on the theme of his relationship with Zerlina. He could be a worthy rival to Don Giovanni and was only held back by the power of the aristocracy.

Lithuanian tenor Edgaras Montvidas is new to us and to the SFO as well. His tone has more texture to it than that we usually hear in the role of Don Ottavio, which made his duets with Donna Anna that much more interesting. He performed both of his arias with feeling--"Dalla sua pace" and "Il mio tesoro". The lavish applause was probably 90% for his lovely singing and 10% bonus for being completely unflappable when the heavens delivered a torrential downpour that swept through the partially open house.  Too bad the storm didn't wait for the scene when Don Giovanni gets dragged into hell!

As the Commendatore, Soloman Howard, also making his SFO debut, used his booming bass and stage presence to create a terrifying figure.

Lest you think that the men carried the show, let us reassure you that the three female parts were brilliantly sung and played. As Donna Anna, soprano Leah Crocetto, first heard at SFO in Maometto II six years ago, was a revelation. Her tone is substantial in size but creamy in texture. Her "Non mi dir" in Act II was deeply affecting.

Keri Alkema's Donna Elvira was equally compelling; her soprano was variously colored as she went from loving feelings to angry ones. We especially enjoyed her aria "Mi tradi quell'alma ingrato".

The role of Zerlina is a great one and Welsh soprano Rhian Lois was absolutely adorable. This role is her American debut and it was an auspicious one. She has one of those sweet light instruments that falls pleasantly on the ear.  She excelled in both arias--"Batti, batti, o bel Massetto" and "Vedrai carino". Her duet with Mr. Okulitch, the famous "La ci darem la mano" was pure delight.

If you surmised that the ensembles came across marvelously well, you would be as right as the rain that doused the house.

Mozart's magnificent score was well played by the orchestra, under the baton of John Nelson. Apprentices graced the stage as liveried servants and (strangely) nuns.

Thankfully, director Ron Daniels did not try to impose any weird concepts on this work, which is firmly rooted in the late 18th c. It is indeed a dramma giocoso and the direction milked every ounce of humor from the libretto. This served to make the final horror even more powerful as the Commendatore dragged the Don to a fiery hell, in which the stagecraft worked quite well.

This is not to fault Mr. Daniels but no director has ever made clear why a woman would pursue a man who tried to rape her. In this production, the Don is not wearing a mask so it became confusing when it took so long for her to recognize him as her father's killer.

The costume design by Emily Rebholz added much to the visual impact. Costumes seemed to be modern interpretations of 19th c. styles and were uniformly flattering.

Scenic design by Riccardo Hernandez was spare--just a few sconces on the wall and a huge sculpture of a head which occupied a substantial amount of onstage real estate. It was supposed to suggest a death mask but we didn't perceive it as adding anything to the otherwise perfect production.

However, Marcus Doshi's lighting design compensated for the lack of sets. In the party scene, the lighting was warm, as if the room had been lit by thousands of candles.

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A RISING STAR UP CLOSE AND PERSONAL

Martin Katz and Leah Crocetto

We were thrilled to have the opportunity to experience the auspicious New York recital debut of soprano Leah Crocetto-- up close and personal.  We have not seen this glorious rising star since August of 2014 when we thrilled to her performance in Rossini's Maometto II at the Santa Fe Opera (review archived and available by means of the "search" bar). 

The Schimmel Center at Pace University is not easy to get to from the Upper West Side but it was well worth the travel. We had a completely different experience of this gifted singer in a space that manages to be capacious but also intimate.

We had planned to use all the information gleaned from the week of master classes we attended but the experience of the recital was so absorbing that we forgot everything but the intense pleasure of listening and hearing.  Ms. Crocetto's voice, both powerful and soothing, envelops one like a warm embrace.  The sound is ample but especially so at the upper register when it opens up like a parasol.

Her stage presence is relaxed and compelling. She has arms as graceful as a ballet dancer and uses them expressively. Her onstage ease just pulls you into her world. Her connection with the text allows you to see through her eyes.

How many singers could open a program with a set of Strauss songs? With absolute confidence, she sailed into "Zueignung" letting her voice swell to a stunning climax. We loved her interpretation of "Die Nacht" in which she took some highly expressive breaths. In "Morgen" we noticed the way she caressed each word.  She finished with the passionate "Cäcilie". We heard these songs coached all last week but we seemed to be really hearing them for the first time yesterday.

It was no challenge for Ms. Crocetto to shift gears into some fine French for a quartet of chansons by Henri Duparc, each one a gem. Her legato is so fine that the feeling carried right through the silences. So this is what is meant by "long lines"! We particularly enjoyed the delicacy of "Extase" and the intensity of "L'invitation au voyage". We heard all the colors of the rainbow.

Her performance of three songs by Lizst came as a complete surprise. We are accustomed to hearing "Pace non trovo" sung by a man and sung often in master classes in which a lot of improvements are proposed. Yesterday not a single note needed improvement. Her interpretation of this tale of obsessive love was completely convincing. "I vidi in terra" permitted a different color and a sweetness of tone.

The second half of the program began with an aria from the aforementioned Maometto II which allowed her to show off her coloratura skills and evoked pleasant memories of her Santa Fe performance as Anna.

In three Barber songs her English was totally clear but we preferred the aria "Ain't it a Pretty Night" from Carlisle Floyd's Susanna.

In the Cole Porter set we realized that American song can compete with lied and chanson, without apology. We do not have to set them apart as "cabaret". Sung without amplification, they surely belong in any singer's repertoire, if they can sing them as well as Ms. Crocetto did. We have Steven Blier to thank for opening our ears on this point!

Our rapt attention won us two encores and they were not "throw away" pieces. We heard "Somewhere" from Bernstein's West Side Story, followed by "Il bel sogno di Doretta" from Puccini's Rondine.

The esteemed Martin Katz was her collaborative pianist. We will think of this recital as a yardstick against which all future recitals will be measured.

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LAST DISPATCH FROM SANTA FE

           
Glamorous mezzo Susan Graham made a delightful hostess for the Santa Fe Opera's fundraiser "Susan Graham and Friends".  With several changes of    attire and a charming manner, she introduced the glittering stars of the      evening who competed with the star-studded New Mexico skies.                 
Especially glittering onstage was coloratura soprano Erin Morley who sang "O beau pays de la Touraine" from Meyerbeer's Les Huguenots.  Ms. Morley's technique is amazing; her trills are liquid silver and her fioritura is always invested with pinpoint accuracy.  Most of the selections from the first half of the program were from lesser known operas, and while given with great artistry, were not always perfectly suited to the singers who performed them, and unfamiliar to the audience who might have preferred some old chestnuts.  Nonetheless, hearing bass-baritone Luca Pisaroni, soprano Leah Crocetto, tenor Bryan Hymel, soprano Erin Wall, baritone Mark Delavan and Ms. Graham herself is always a treat.  The Santa Fe Opera Orchestra, conducted by Kenneth Montgomery, has played remarkably well all season.  Frederic Chaslin accompanied Ms. Graham for her "Ch'io mi scordi di te".The second half of the program was given over to lighter works--operetta and Broadway musicals.  Still, it is difficult to consider the "Epiphany"  from Sondheim's Sweeney Todd as a light work and Mark Delavan showed every nuance of its nastiness.  We were surprised and delighted to see Nicholas Pallesen, well remembered from Juilliard days, who gave a stirring performance of "If ever I would leave you" from Lerner and Loewe's Camelot.  Ms. Graham was hilarious in "The boy from..." by Sondheim and Rogers.  The program closed with the finale from Bernstein's Candide, sung by Zach Borichevsky whom we enjoyed so much as Matteo in Arabella. His Cunegonde was sung by promising coloratura soprano Lindsey Russell, one of this year's apprentices.

WOW-METTO

Luca Pisaroni

Patricia Bardon

Bruce Sledge

Leah Crocetto

The Santa Fe Opera has come through with another major success--a totally fulfilling production of Rossini's Maometto II.  There has been some extensive scholarship involved in bringing this masterpiece to the stage, in light of the plethora of extant  versions, but what matters to us in the audience are the musical and dramatic values.  And of those, not an element can be faulted.

As the titular hero, bass Luca Pisaroni gives us vocalism and dramatic energy in spades.  His Maometto is compelling--virile, dominant, vengeful and arrogant--a warrior who also has moments of tenderness, all of which is reflected in his multihued voice and total commitment to the role as he strides around the stage looking every bit the conqueror. Soprano Leah Crocetto has a coloratura of warmth and color; her fioritura is spot on.  We wind up caring deeply for her character Anna, the daughter of a Venetian commander Erisso, so perfectly portrayed by tenor Bruce Sledge.  Mr. Sledge's voice is strong but always pleasant to the ear and modulated to suit the mood of the scene.  Mezzo Patricia Bardon won our admiration in her vivacious and accurately sung portrayal of Calbo whom Erisso has chosen as husband for his daughter.

What Erriso and Calbo don't know, but are soon to learn, is that Anna has fallen in love with Maometto who has deceived her into believing that he is a Venetian nobleman.  Her anguish over this deception and its effect on her father and the risk to the Venetian efforts to hold onto the citadel at Negroponte make up the plot which sweeps us along in a great current of Rossinian melody, here so marvelous interpreted by Maestro Frederic Chaslin, leading the Santa Fe Opera Orchestra.  This opera is considered to be quite inventive for its time and also sadly neglected.  Most operagoers think of comedy when they think of Rossini, but he has created some valuable tragic operas, of which this is surely one of the most important. He has given some beautiful melodic lines to the woodwinds and, at times of battle, to the brasses.

We have been impressed all season with the performance of the chorus, comprising apprentices who have been whipped into shape by chorus master Susanne Sheston.  Peggy Hickey's choreography for the "Ninja warriors" was most interesting and added to the totality.  David Alden's direction was straightforward and kept the action moving along.

Last night's performance also had a contribution from Mother Nature.  Peals of thunder accompanied Ms. Crocetto and the astute lighting of Duane Schuler was abetted by bolts of lightning.  In the final act, as the libretto speaks of fleeing the approaching storm, a handful of audience member did exactly that.  We were happy to stay and revel in the gorgeous duets and trios as the cast of four worked through their complex issues with one another.  Once again we have duty trumping love.

The interesting set by  Jon Morrell comprises sliding curvilinear walls recreating the citadel and the church where Anna prays over her mother's ashes. Corinthian columns are in evidence, as is an engraving of a quote from Petrarch claiming that Venice is unique in its support of liberty and peace.  Maometto's tent is suggested by a roof supported by a spear.  Costumes also by Jon Morrell  are interesting with Maometto's warriors dressed in black like Ninja warriors.  Maometto's costume outshines everyone else's; he looks like Gengis Khan.  The women are in soft robes as might have been worn in Rossini's day.  There appears to be no definite commitment to the Byzantine period but it didn't seem to detract from the theme.

We hope to hear more Rossini in years to come!

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NICOLE CABELLl--from the heart

It is always evident when a singer communicates from the heart.  Such was the case at The Santa Fe Concert Association's Festival of Song when glamorous soprano Nicole Cabell gave a warm interpretation of two Ricky Ian Gordon song cycles accompanied by Mr. Gordon himself at the piano, both artists deeply immersed in both their artistry and their abilities to communicate with the audience.  The poetry, chosen by Mr. Gordon, was by African-American poet Langston Hughes, remarkable for its conciseness and (!) lines that rhymed, which was graceful to the ear.  The moods vary from sorrow to exaltation and Ms. Cabell's ability to convey this variety was remarkable.  We particularly admired "In the Time of Silver Rain" which might do for rain what Beethoven's sonata did for moonlight.  The romanticism of "Love Song for Antonia" was followed by the bouncy "Port Town" which involved the seduction of a sailor boy.  "Song for a Dark Girl" conveyed the tragedy of a lynching.  And that was only the first cycle.

The second cycle, entitled "Genius Child", was introduced by Mr. Gordon with a quote about how geniuses can be and often are misunderstood.  We particularly liked "Genius Child" and "To Be Somebody" about the dreams of children.  The sadness of "Troubled Woman" and "Strange Hurt" let us know about some female suffering.  To end on a more sanguine note, we heard the delightful "Joy".

The enthusiasm and ambition of Joseph Illick, Executive and Artistic Director of the Santa Fe Concert Association, knows no bounds and this series "Festival of Song" will be repeated next summer, with even more performances-- if he and we have anything to say about it.  We regret having missed what we heard was a brilliant recital by soprano Leah Crocetto last Sunday and deplore the fact that our travel schedule will prevent us from hearing a recital by the much sought after bass-baritone Luca Pisaroni.  But that shouldn't stop YOU from being there!  Mr. P.  will be singing lieder by Schubert and Liszt as well as canzone from Rossini.


Let it be noted that the SFCA also brought half a dozen artists from the New York City Ballet to Santa Fe for a Festival of Dance.  Santa Fe is surely the place to be in the summer!


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