MANNES SOUNDS FESTIVAL SOUNDS GREAT

 An Evening with Mannes Opera

Mannes Sounds Festival, helmed by Artistic Director Pavlina Dokovska, has been keeping New Yoirk City entertained since February with a number of exciting events. Last night we were delighted to attend the vocal entry "Bel Canto, an Evening with Mannes Opera"  held at the gorgeous Church of Our Lady of Good Counsel, on the good counsel of one of our favorite singers. We are very happy for this good counsel, having spent the evening hearing some of our favorite Mannes singers and discovering some new ones.

Director William Gustafson staged each scene in a manner that made the action clear and augmented the staging with a brief but engaging description, for those in the audience unfamiliar with the operas. If the scene involved more than the person performing the aria, the other scene partners were onstage, giving the singer dramatic input. This added imeasureably to the engaging nature of the evening.

Music director Eun Kyung Lee accompanied on the piano and adhered perfectly to the varying styles of singing. There were also a couple of instrumental pieces that we enjoyed. Debussy's Sonata for Flute, Viola, and Harp struck us as haunting and mysterious, stirring our imagination into a woodland scene with the harp creating a rippling stream and the flute bringing bird calls to mind. It was quite lovely. "Dance of the Blessed Spirits" from Gluck's Orphée et Eurydice was otherwordly with Ms. Lee's piano joined by a pair of flutes, performing from a balcony in the rear.

Although that device was most effective for that piece, the use of the balconies for operatic numbers was somewhat less so--perhaps dramatically appropriate but making the singer difficult to see. Our readers know how much we prefer "up close and personal"--strictly a matter of personal preference.

The performances were all excellent but let us recall a few in which the singer and the material seemed perfect for one another. Soprano Theodora Siegel showed fine involvement with the character in her performance of "O luce di quest'anima" from Donizetti's Linda diChamounix, utilizing lavish embellishment of the vocal line to convey Linda's delight.

Similarly, soprano Jihye Seo gave a moving portrayal of the doomed heroine of  Donizetti's Maria Stuarda. In the first part of the scene "O nubei che lieve" she reflects on her homeland in lyrical fashion; in the cabaletta "Nelle pace del mesto riposo" she let loose her rage at Queen Elizabeth with passionate fioritura. We loved the resonance of her voice, with overtones bouncing around the nave. In keeping with Mr. Gustafson's intentions, it would have been meaningful to have Maria's companion Anna nearby.

Whilst we are discussing Donizetti, baritone Julian Bailey made a persuasive Dottore Malatesta, trying to convince the titular Don Pasquale of the virtues of his "sister" in "Bella siccome un angelo".  Mr. Bailey's mid-range has a most compelling texture.

We may not consider Mozart and Bizet as "bel canto" composers. but then Lincoln Center always included some outliers in their Mostly Mozart Festival. So we were thrilled to hear mezzo-soprano Shengnan Yang perform the "Seguidilla" from Bizet's Carmen with luscious tone and seductive manner.

MIcaela's aria "Je dis que rien ne m'épouvante" was performed by soprano Sunwei Li in a most heartfelt manner with soaring tones that rose to the celing.

Mozart was given quite a bit of stage time and we enjoyed baritone Haojie Jiang's interpretation of Figaro's aria "Non più andrai" from Nozze di Figaro, sung with full tone and charming personality. Estelina Syla as Susanna harmonized beautifully with Lindsey Kanaga in "Sull'aria" but they were way up high in the balcony and contemporized the duet by means of cell phone usage which distracted by its anachronicity.

Way outside the "bel canto" designation but just as filled with vocal fireworks is Adele's "Laughing Song" from Johann Strauss' Die Fledermaus and Haojin Mo not only nailed those fireworks but created a very funny and loveable character.

There were many more treasures on this long program but we are out of space.  However we don't want to end without mentioning an aria in (gasp) English which we actually enjoyed and the words of which were totally comprehensible.  Tenor Knox Van Horn gave a well phrased account of "New York Lights" from William Bolcom's A View from the Bridge. The finest compliment we could give is that we would actually consider going to a performance of said opera, should it be produced locally!

© meche kroop

MORE BAROQUE FROM MANNES OPERA

 Curtain Call from La Calisto presented by Mannes Opera

Last night we attended a performance of Francesco Cavalli's l651 opera La Calisto, presented by Mannes Opera and directed most imaginatively by Emma Griffin. We don't know why all three opera conservatories in New York City chose to present a Baroque opera during the same time period; we thought we had had our fill and had no intention of writing another review. We only went to see the performance of a couple singers we admire. However, we were so taken with the production and the artistry of the singers and musicians that we feel compelled to share it with you, dear reader. If you read this too late to see it in person, we urge you to watch the livestream on December 2.

 We were amazed by the endurance of so many aspects of love that have remained unchanged for  four centuries. The stage was filled with nymphs and satyrs, gods and goddesses--strange figures to be sure; and yet their concerns are our concerns today.  The social media generation did not invent unfulfilled romantic longing, sexual dalliances overcoming chaste intentions, rejection, cross-dressing, lesbian love, romantic deception, cheating husbands, nor vengeful wives. There was something particularly thrilling about seeing ourselves onstage in a work dating back four centuries.  Not just thrilling but moving as well. Love and sex will always be with us until the robots take over!

It is difficult to believe that this marvelous work lay dormant until 1970.  How fortunate we are that it was discovered and revived.  It lets us in on what the mid 17th c. Venetians expected from a rather new and popular art form. Cavalli was there at the birth of opera!

Impresario/librettist Giovanni Faustini had created many operas with Cavalli; this one was their penultimate production. The story was derived from Ovid's Metamorphosis and recounts the myth of Giove pretending to be the goddess Diana in order to seduce the beautiful chaste Calisto. The tale is padded out with the love story between the real Diana and the shepherd Endimione. In every case, chastity falls under the weight of sexual desire. 

The wily Mercurio (fine and funny tenor Daniel Rosenberg) convinces Giove (authoritative baritone Christopher Lau) that persuasion is no match for deception when trying to seduce a woman. Their duet was musically gorgeous and also quite humorous. 

In the title role, lovely soprano Anna Aistova sang about wanting to lead a chaste life, devoted to the goddess Diana.  Giove transforms himself into Diana (beautifully sung by soprano Lindsey Kanaga) and successfully seduces her. The two women had a tender duet before entering a cave to exchange chaste kisses (which led to much more).

When the real Diana appears (Jihye Seo) her voice and gestures are very different and there is no doubt that she is the real thing. When Calisto refers to their makeout session, Diana is outraged by the inference and tosses Calisto out of the virginal sisterhood. 

Diana, on her part, is secretly in love with the shepherd Endimione (Elisse Albian) who expresses his longing for her in the most exquisite aria.

In a scene offering comic relief, Maia Sumanaweera portrayed Linfea, one of Diana's followers, who longs for romance. In spite of her desperation, there is no way Linfea is going to settle for the importuning of Satirino (Emmet Solomon), even though he tells her that while young, his tail is still growing!  He is a member of a clutch of satyrs, of which the leader is the god Pane, portrayed by Joohyun Kim. As Silvano, one of the satyrs, we enjoyed hearing Yuan Lai.

We were met with new delights as Giunone, the jealous wife of Giove, appeared to expose her husband's infidelity.  The stunning soprano Marieke de Koker just about stole the show as she gave her all to the revenge aria, in which she instructs women not to put up with philandering husbands but rather to take revenge.  Her particular revenge is to transform Calisto into a bear. Giove cannot undo this curse but finds his beloved Calisto a place in the firmament as the constellation Ursa Major, a condition foretold in the Prologue.

The Prologue was outstanding with soprano Yixuan Li taking the role of L'Eternita, soprano Jillian Agona appearing as Il Destino, and mezzo-soprano Morena Galan taking the role of La Natura. In a stunning opening scene the three women decide that Calisto deserves her place in the heavens. 

Taking the roles of The Furies were Olivia Gray and Anna Ruhland.

Emma Griffin, Managing Artistic Director of Mannes Opera, pulled exemplary performances from these gifted young singers and told the tale in a way that resonated with contemporary listeners, without robbing the work of its authenticity. Cavalli's music is very singable and  a small chamber orchestra, such as was heard in its own time, did full justice to Cavalli's writing, led by the rising star conductor Kamna Gupta.

We do not know who was responsible for the costuming and makeup but both contributed enormously to the effectiveness of the storytelling. What impressed us the most was how these wonderful singers are also terrific actors, especially in the comic roles.  We could see both the mythic characters and ourselves simultaneously!

© meche kroop