INFIDELITY AND BETRAYAL

Amanda Majeski, Jarrett Ott, Rod Gilfry, Ben Bliss, and Emily D'Angelo
(Photo by Ken Howard for Santa Fe Opera)

It was at the tail end of the Enlightenment when Mozart and Da Ponte created their puzzling masterpiece Cosi fan tutte, puzzling because it has one foot in comedy and the other in tragedy. It must have scandalized the opera-going public at that time. As late as the 20th c. audiences might have understood the shame experienced by cheating fiancées; but 21st century morality has changed and partner swapping no longer shocks or shames.

Given Mozart's marvelous music and an attractive young cast, we expected a captivating telling of the tale, especially since we have previously enjoyed the fresh takes on Händel's operas provided by Stage Director R.B. Schlather. To say we were disappointed would be a gross understatement; in fact we were appalled by this meretricious production.

We frequently closed our eyes during the "important" arias so we could focus on the glorious voices. It was indeed a casting coup to have engaged these artists who were excellent vocally and who worked well as an ensemble, apparently doing their best to give Mr. Schlather what he wanted.

Tenor Ben Bliss, possessor of a gorgeous instrument, could have melted anyone's heart with his "Un'aura amorosa". His voice has expanded in the past couple of years without losing any of its tonal luster. It was amazing that Fiordiligi could hold out for so long!

Baritone Jarrett Ott has a compelling stage presence and sings with baritonal beauty that was never lost in this low lying tessitura. Mozart did not give him a memorable aria but "Non siate ritrosi" was given a fine delivery. He was memorable in his seduction of Dorabella.

The role of Dorabella was performed by the excellent young mezzo-soprano Emily D'Angelo who possesses an instrument of distinctive texture. We particularly enjoyed her performance of "Smanie implacabili" for its gorgeous vocalism and over-the-top dramatics.

The soprano role of Fiordiligi was performed by Amanda Majeski who readily conquered the wide skips of the showpiece aria "Come scoglio".  However we were distressed by a hard edge in her voice that sounded shrill. In duets and ensembles this feature created an unpleasant imbalance in the harmonies. Also, her ornamentation could have been crisper in its articulation.

Baritone Rod Gilfry is always a welcome presence, even when he portrays un unlikeable character like Don Alfonso. How can one like an older man who treats his young friends as puppets to play with!  We call him guilty of entrapment.

Soprano Tracy Dahl got a lot of laughs as Despina and we loved the particular timbre of her high soprano. It was particularly funny that her height brought her barely to the shoulders of the other artists. "Una donna a quindici anni" was given plenty of sass.

We always enjoy Mozart's duets and ensembles, especially "Soave sia il vento". The esteemed conductor Maestro Harry Bicket led the Santa Fe Opera Orchestra in a lively reading of the score, also giving the lyrical moments plenty of space.

We also noticed that moments of comedy were enhanced by leaving an extra beat of silence right before a humorous line. We don't know whether Mo. Bicket or Mr. Shlather was responsible for this but it worked well.

Now, about the production--we found it illogical, incomprehensible, and just plain ugly. It would take forever to relate every single instance of directorial waywardness but let us name a few. In Act I, all four of the young lovers were directed to move jerkily around the stage, roll on the floor, fight, and bounce off the walls. 

Despina has a magic wand to "heal" the poisoned "Albanians" (who in this case were silver-clad cowboys) and appears to use it to advance Don Alfonso's machinations. If "magic" is involved, it undercuts the theme of human foibles and succumbing to the pull of romantic variety. In this production the women can't really take responsibility for their lapses although they do feel shame.

The final scene was particularly confusing. Don Alfonso makes all four young lovers kneel as if preparing for an ISIS beheading; then he pours water or some other liquid on their heads. 

Characters were often onstage when they were not supposed to be. Don Alfonso had no justification for announcing the return of the fiancés just when everyone was partially deshabillé.

Terese Waddens' costume design furthered the confusion. The young men first appear in what seems to be tennis whites, as do the young women. The men then appear dressed as cowboys, so that when they next appear as the "Albanians" the only apparent difference is that their moustaches are gone. This makes it even more preposterous that the ladies don't recognize their fiancés.

Despina is costumed in an unflattering housedress and later in a spangled evening gown that harmonizes with those of her employers robbing her of her special role in the plot. No attempt was made to convince anyone that she was a notary or a doctor.

Dorabella at first looks very feminine with long hair. Toward the end she appears wearing a man's suit and very short hair. Why?

Paul Tate De Poo III's minimalistic set design was similarly ill advised. Flat architectural elements had square spaces cut out of them through which characters emerged in somersaults or fell through. The floor had a similar square hole through which characters emerged or descended. None of these movements served the plot. There were no props except for Despina's magic wand.

Perhaps Mr. De Poo and Ms. Wadden were just giving Mr. Schlather what he wanted, just like the singers. But the overall effect added nothing to our understanding of the characters. We speculate that Mr. Schlather wanted his audience to focus on the psychology of the characters and the emotional effects of their interaction. This is not the way to do it!

When we see a production that honors the intent of the librettist and composer and is given a specific context of time and place, we in the audience do the work of finding parallels with our own time and place, as well as differences. It gives us a feeling of participation and a sense of understanding of our place in history.

On the other hand, a barren production like this one was devoid of context. Such abstraction leaves us feeling alienated and disconnected, when we should be identifying with the characters and caring about their destinies.

So...Mozart 10: Schlather 2!  It was the production which was guilty of infidelity and the audience which was betrayed!

(c) meche kroop

 

A DIFFERENT "MOSTLY MOZART"

Charles Gray, Jennifer Zamorano, Allegra Durante, Hannah Madeleine Goodman, and David Serero

Opera fanatics might have gotten their knickers in a twist at last night's production of Mozart's Nozze di Figaro but everyone else, ourself included, had a grand time. Gone were the lengthy intermissions, missing were a few characters, and lengthy recitativi were replaced by English dialogue that advanced the action. We are happy to report that most of the major arias were retained, giving us the opportunity to appreciate some fine singing.

This adaptation was written and directed by baritone David Serero, a larger-than-life character with a larger-than-life personality. Mr. Serero himself took on the part of Figaro and played to the (nonexistent) balcony. If we had been at the Met, his voice would have reached the Family Circle and his acting would have successfully limned his character to the audience thereof.

Mr. Serero likes to put his own spin on things and the dialogue he wrote was peppered with Yiddish expressions. A mysterious figure appeared from the wings at one point, accompanied by a theme from the film The Godfather. This presence represented the sneaky Don Basilio; a photo of this character (actually Mr. Serero with a mobster accent and mafioso costume) can be seen in the carousel of photos on our Facebook page (called Voce di Meche). At another point, Charles Gray's Count Almaviva appeared dressed as Darth Vader, accompanied by appropriate music. That's one way to threaten a wife!

At another point Mr. Serero interpolated the "Figaro Aria" from Rossini's Il Barbiere di Siviglia. Forget the "fourth wall". Mr. Serero does everything he can to engage the audience and they all adore him; they even sang along at his bidding. A Tom and Jerry cartoon of this aria was projected and reminded us of our very earliest exposure to opera.

If this sounds like your cup of borscht, we urge you to go and have a good time. Make sure you bring an opera "noobie". The one we invited had a swell time.  Not only will you have a great time but you will hear some fine voices.

As the sprightly Susanna, we heard Hannah Madeleine Goodman who was completely convincing as the practical problem-solver, a fine match for her Figaro. She deftly illustrated quite different responses to her beloved fiancé and toward the importuning Count. In what would have been Act IV, her "Deh vieni, non tardar" was beautifully rendered and quite moving, by virtue of some exquisite dynamics.

As the neglected Countess Almaviva, Jennifer Zamorano made her entrance in sunglasses and shopping bags. It was easy to accept her as a woman of dignity, reduced to seeking help from her servant Susanna.  She shone in both arias--"Porgi amor" and "Dove sono", eliciting compassion in the midst of all that hilarity. Her instrument has a lovely vibrato and opens up beautifully in the upper register.

Equally convincing was the Cherubino of Allegra Durante who did justice to both of her arias "Non so piu" and "Voi che sapete". The scene in which the Countess and Susanna dress Cherubino up as a girl wound up on the cutting room floor, along with Marcellina, Dr. Bartolo, and Barbarina. It seems to us to be quite a challenge to retain the thread of the story whilst eliminating all the subplots--but it worked just fine.

As Almaviva, Charles Gray also evinced a different relationship with Susanna and with his wife. He sported a cockeyed white perriwig and satin coat. It was interesting that the male characters were in period dress whilst the female characters were in contemporary attire. Notes to the Count were handled by text with appropriate sound effects, bringing this costume drama right into the 21st c. and adding to the general merriment.

There was no set to speak of but projections sufficed to establish the setting.

The piano score was well played by composer Felix Jarrar who switched readily from Mozart to cinematic score.

Once more, Mr. Serero has done his part in bringing opera to new audiences with his creative slant. This production was held in the comfortable theater of the Center for Jewish History and was presented by The American Sephardi Federation which generously supports these works. He shared with the audience information about Lorenzo Da Ponte, who was Jewish. He related how Da Ponte brought opera to New York City--a tale which was well told by Divaria Productions which we reviewed in May of 2018; it can be read at this link if you are interested. http://www.vocedimeche.reviews/2018/05/don-giovanni-in-new-york.html

There will be a couple additional performances and we hope you will take advantage of the opportunity for some hearty laughter.

We are looking forward to the production of Anne, a musical about Anne Frank which will take place in September.

(c) meche kroop

COSÌ COSÌ

Nathan Hull, Deborah Surdi, Conrad Bullitt, Iris Karlin, Maestro José Alejandro Guzmán, Perri Sussman, and Drew Watson

We have long asserted that singers make good directors; we have always admired Nathan Hull's direction at Amore Opera but we have yearned to hear his resonant baritone and last night we did--in the role of Don Alfonso in Mozart's Così fan tutte. His performance as the cynical and experienced older friend of Fernando and Guglielmo was spot on--effective without overplaying or grandstanding. He knows how to create a believable character and his diction was crisp. Every word was clear.

Another notable feature of this performance was the vastly improved performance of the orchestra under the baton of Maestro José Alejandro Guzmán. We have grumbled in the past about out-of-tune strings but last night the orchestra was in tune and together. The overture fairly sparkled! Of course, there were some recalcitrant French horns but that's par for the course. The program notes did not identify the player of the (electronic) harpsichord continuo.

The stage direction by Mr. Hull was unobtrusive and served to highlight the singers, rather than calling attention to some irrelevant "concept". There were, as usual, some very clever touches.  For example, when Despina, dressed as a quack doctor, pulls out a giant magnet, she points it at the potted plants which are made to shake and quiver, just like Ferrando and Guglielmo portraying the rejected Albanian suitors who have just taken "poison".

The sets are probably inherited from Amato Opera and were effectively lit by Duane Pagano. Costumes were designed by superb soprano Iris Karlin who created a strong-willed Fiordiligi. In harmony with her was marvelous mezzo Perri Sussman who was equally believable as Dorabella. Every scene between these two lovely ladies resonated with truth. They were supportive and competitive in turn, just like real sisters.

As their suitors, baritone Conrad Bullitt sang with fine tone and we enjoyed his smug glee when he succeeded in winning the all-too-willing Dorabella, his friend's fiancée. The role of Ferrando was sung by tenor Drew Watson who evinced a fine decrescendo. The role of Despina was sung by Deborah Surdi who was not always audible.

The packed house was unusually appreciative of all the humorous touches, most of them intentional, but a few which weren't. There were false mustaches coming loose and wigs worn on top of other wigs and hats falling off. It was all in good fun and just what we want in a comedy.

What we don't want in a comedy (or in a tragedy either for that matter) is an English translation! There was absolutely no justification for presenting this 1790 Italian language treasure in English. Mozart and da Ponte carefully married the vocal phrases to the text and it seemed criminal to come between them the way Don Alfonso broke up his friends' relationships.  

The uncredited translation might have been clever had we been able to understand the words! But Mr. Hull was the only one onstage who was consistently understandable and there were no titles. Fortunately, we know the story very well and there was a clear synopsis in the program for those who did not. Still, it is frustrating to try to understand what singers are singing when you can only catch a word or a phrase here and there. It might as well have been sung in Czech! After awhile we gave up trying and focused on the sound of the voice and the orchestra.

This led to the observation that English may be the worst language in which to evaluate the quality of a singer's voice. Just say aloud "Un aura amorosa" and feel how it rolls off the tongue. Now try "My love is like a flower" and you will see what we mean. Every gorgeous aria Mozart wrote seemed diminished.

Now Arthur Sullivan's music was made to suit the English language and we recall last December when Mr. Hull's libretto for Scrooge (review archived) danced into our ears. This did not happen last night.

We have reviewed Ms. Karlin and Ms. Sussman on many prior occasions and enjoyed their voices; but what if this had been their first time? We would have little idea of their artistry.

If the goal of presenting an opera in translation is to further our understanding, then each singer must have exemplary diction. Strangely, it is mainly foreign born singers who enunciate clearly.

Opera lovers in St. Louis have no choice. The Opera Theater of St. Louis only presents operas in English translation. But here in New York City, we have a choice and we choose opera in its original language.

Amore Opera presents forgotten masterpieces as well as old favorites and we are excited about hearing Meyerbeer's Dinorah next week, sung in its original French (YAY!). This unfairly forgotten masterpiece has not been heard in the USA in a century. Do get tickets before they sell out!

(c) meche kroop

#MeToo DON GIOVANNI

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(c) meche kroop

SUPERSIZE ME

The sterling cast of Salieri's La Cifra, presented by Dell'Arte Opera Ensemble
(photo by Brian E. Long)

Leave it to Dell'Arte Opera Ensemble to uncover an opera heretofore unknown and to give it a sparkling and delightful American premiere performance. Its success rests upon many shoulders. Rising star director Brittany Goodwin has put a commedia dell'arte spin on Salieri's La Cifra which might have otherwise flopped. Actually, we can't imagine it presented in any other way, having enjoyed this zaniness so thoroughly. Ms. Goodwin is relentlessly clever.

And there are many other shoulders to credit. The Dell'Arte Festival Orchestra, led by Maestro Catherine O'Shaughnessy (and isn't it great to see a woman conducting!) played Salieri's tuneful music in a manner that led to total appreciation of this underrated composer.  As a matter of fact, having heard his Falstaff and this opera, we are sure that he would have been far more popular today had he not been eclipsed by the young Mozart. 

The fine cast of young artists appear to have profited handsomely from their summer session and avidly picked up Ms. Goodwin's direction, capturing the ancient commedia dell'arte style. Gestures and facial expressions were super-sized and outlandish. Yes, these are stock characters but they also managed to have individual personalities that went beyond what was expected.

In the starring role of Rusticone (rustic, get it?) bass-baritone (we think) Angky Budiardjono handled the vocal demands and the comedy equally well. His character, based on Pantalone, is a conniving old goat who has hidden the aristocratic identity of his foster daughter Eurilla, along with her inheritance, in the hopes of marrying her. In this role, soprano Rachel Barker-Asto revealed her bel canto chops and created a sympathetic portrait of a modest and good-hearted young woman. We loved the way her killing of a dangerous wild boar (with a paper rifle!) changed her personality to one of swaggering confidence.

She has grown up as Rusticone's daughter, unaware of her aristocratic birth. Her step-sister Lisotta, given an outsized portrayal by the excellent mezzo-soprano Allison Gish, is out to snag Milord (the aristocratic tenor Timothy Stoddard) who rode into town on a hobby-horse and promptly fell for Eurilla. Lisotta's character is vain, insolent, and self-important with aristocratic pretensions. There are funny scenes of the sisters fighting and reconciling.  Of course, Eurilla, with Cinderella-like magnanimity, forgives everyone in the end.

Sandrino is the Pierrot-like character, in love with Lisotta. The role was beautifully rendered by baritone Jay Chacon. This was a very anxious suitor, breathing from a paper bag, ostensibly to deal with panic attacks. We wondered whether 18th c. folk were aware of that remedy!

Milord's side-kick Leandro was performed by tenor Stephen Steffens; the excellent chorus comprised Makayla McDonald, Andrea Howland, Sam Strickland, Nicholle Bittlingmeyer, Ian Joyal, Charles Calotta and James Healy .

The inventive staging was as impressive as the singing. During the overture, members of the ensemble ran around setting up the stage with curious props. Sheets were suspended between ladders and later the ladders held a suspended clothesline. A head of cabbage made several appearances for characters to swear upon. Little light bulbs ran across the front of the playing area. Trunks were brought in and some basic furniture. Rain was created by tossing handfuls of packing popcorn. At one point, Milord wore glasses with bulging eyes popping out on springs. Every item added to the fun. Matthew Iacozza is credited with Scenic Design.

As far as Claire Townsend's zany costumes, they fulfilled Ms. Goodwin's concept to a "T", as one can see from the above photo.

Ms. Barker-Asto had her chance to shine in several arias; in her second act lament, a two-part aria seemed a preface to the bel canto aria with its lively "cabaletta". As a matter of fact, a number of features presaged the bel canto period, especially the wild and crazy sextet which ends Act I.

We enjoyed her love duet with Mr. Stoddard, replete with tenderness and exquisite 18th c. harmonies.  If serious drama requires comic relief, can we say that comedy requires some romantic relief?

Mr. Stoddard also did some fine work in his arias and in the male trio in Act I.  Mr. Chacon got his big aria in Act II but also had a fine duet with Ms. Gish.

There was a charming group dance when the townsfolk gathered, which reminded us of English country dancing. We understand that Owen Horsley, himself an award-winning Scottish dancer, is responsible for the choreography.

And once more we enjoyed Artistic Director Chris Fecteau playing the hell out of the harpsichord for the recitativi.

The ins and outs of this topsy turvy plot were created with panache by Lorenzo Da Ponte, whose libretti served Mozart so well. We recommend that you grab a chance to see this work. Who knows when you will get another chance. Try to get tickets for Friday night or Sunday matinée. You might get lucky!

(c) meche kroop

NON GIOVANNI

Charles Gray, Javier Ortiz, Jennifer Allenby, David Serero, Anna Cley, and Pablo Veguilla

We wish we'd been able to review David Serero's Don Giovanni earlier in the run; we'd have advised you to bring all of your opera newbie friends to this 80 minute abbreviated version of our favorite Mozart opera. There were laughs aplenty provided by Mr. Serero's adaptation with recitativi eliminated in favor of English dialogue, replete with jokes.

As a matter of fact, although the music was all Mozart and nothing but Mozart, Lorenzo Da Ponte's libretto received short shrift, which was curious in light of the fact that Mr. Serero's operatic productions favor stories about the Jewish people or which were written by Jewish people. (We don't, however, expect to see Verdi's Nabucco on the modest stage of the Center for Jewish History--not even with the "Chorus of the Hebrew Slaves".) So, the Jewish connection  was based upon the libretto of the Jewish Da Ponte. To honor him, Mr. Serero moved the setting from Seville to Venice, Da Ponte's birthplace. However, he also changed the story a bit.

Mr. Serero is quite a showman and the moment he stepped onstage we immediately thought of POTUS.  Therefore we were not surprised when he did outright imitations of our Liar/seducer in Chief; and they were very good imitations at that, providing lots of laughs for the audience. (There were other references to popular culture as well, but most went over our high-browed head--something about Lady Gaga and Starwars.)

In any case, he threw himself into the part, portraying Don Giovanni as a smarmy cad. He surrounded himself with some excellent singers, ensuring that the brief evening of the major arias, connected by English dialogue, was of musical value to those of us who are not newbies. Sometimes, we girls just want to have fun!

Charles Gray made a very funny Leporello, Don Giovanni's servant and side-kick, bearing an iPad on which he swiped, in order to show Donna Elvira all of his master's conquests in the "Catalogue Aria".  Mr. Gray not only sang well but put all kinds of physical comedy into his portrayal.

The women singers were all excellent.  We heard the strong voiced Anna Cley as the very angry Donna Elvira and Jennifer Allenby as Donna Anna, and a very fine Donna Anna she was. In the role of Zerlina, Yi Wang portrayed her as more innocent than most, making Mr. Serero's vile seducer seem even more vile. He said he was "reeling her in like a fish", which he mimed. 

Her sposo Masetto was portrayed by Javier Ortiz who did double duty as the Commendatore.  There was a funny bit when he was slain and lying on the stage until the next scene and was told by Mr. Serero to get up and get out because his scene was over, and Mr. Ortiz replied that he had fallen asleep.

And finally, Pablo Veguilla took the role of Don Ottavio and did a fine job with "Il mio tesoro". We particularly enjoyed the trio of Donna Anna, Donna Elvira, and Don Ottavio.

The piano reduction was perfectly performed by composer/pianist Felix Jarrar, right from the overture until the end when Mr. Serero jumped offstage into the waiting fires of hell whilst Disney's "That's All Folks" was projected on the rear wall. A good time was had by all.

(c) meche kroop

THE DON AND THREE COMPLEX WOMEN

Parker Drown, Zina Ellis, Matthew Gamble, Samarie Alicea, John Taylor Ward, Leela Subramaniam, Felicia Moore, Barrington Lee, and Keith Browning
in Heartbeat Opera's Don Giovanni

There is just so much to say about Heartbeat Opera's Don Giovanni which opened last night at the Rose Nagelberg Theater at the Baruch Performing Arts Center! Where shall we begin? Let us save the spoilers for the end so that prior knowledge will not affect your astonishment when you attend--and we truly hope you will! This production had a great deal of buzz last night so do not delay.

We are generally dissatisfied when a director undercuts the meaning of an opera with a self-serving concept. Dear readers, if you have been to the Metropolitan Opera in the past few years you know exactly what we are disparaging. 

But what if a director completely reimagines an opera that we know and love, sweeps away the ingrained clichés, and sheds new light on the drama. A museum piece, adapted by the right hands, can take us to new places with new insights and relevancies. Director (and Co-Artistic Director of Heartbeat Opera) Louisa Proske has the right hands.

Daniel Schlosberg is credited with arranging Mozart's music for Cantata Profana, Heartbeat's resident chamber ensemble. The five strings (string quartet plus bass) were augmented by the clarinet of Gleb Kanasevich and the harpsichord of Aya Hamada. This produced a very interesting sound, but we sometimes felt like something was missing although we don't know enough about orchestration to identify it. For the party scene the musicians joined the action onstage. Conductor Jacob Ashworth played first violin.

Because opera is about the voice, let us tell you how splendidly the cast sang. The astonishingly versatile bass-baritone John Taylor Ward made a superbly seductive Don and used his fine instrument to illuminate the character of a narcissistic sociopath, reminding us of the pussy-grabbing POTUS. Furthermore, his expressive long lean frame added significantly to his performance.

The three women achieved new status in this production. The Donna Elvira of soprano Felicia Moore, whom we know very well from her extraordinary work at Juilliard, was not a comic figure played for derision. Her work was authentic and sincere; she created a believable portrait of a woman who genuinely cares about a worthless man and also cares about rescuing Zerlina from his clutches. The timbre of her voice and her astute phrasing convinced us of her value as a human being, the kind of woman we know as a "rescuer". Her "Mi tradì quell'alma ingrata" was superb.

The Donna Anna of soprano Leela Subramaniam, whom we well remember from her fine work at Manhattan School of Music, was particularly fine, using a fine bright tone to explode the tried-and-true characterization of the virginal young aristocrat. This characterization was a creation of Ms. Proske and Ms. Subramaniam fulfilled it perfectly. Details will follow.We loved the way she sang "Non mi dir".

Soprano Samarie Alicea, well remembered from her work with the International Vocal Arts Institute three years ago, not only sang splendidly but demonstrated major chops as a comic actress. Whatever she felt about the Don came across in her mobile face as well as her flexible voice. Her "Batti, batti o bel Masetto" was beautifully sung and had a twist.  Keep reading!

Baritone Matthew Gamble, whom we remember from IVAI and also from Martina Arroyo's Prelude to Performance, showed his stuff as the much put-upon Leporello. There was a traditional and well sung "Catalogue Aria".

Barrington Lee used a wonderfully rich bass-baritone to enact the Commendatore and also Masetto, managing to color his voice differently in such a successful manner that we thought it was two different singers! This casting strategy was also used at the opera's Vienna and Prague openings in the 18th c.

Don Ottavio was portrayed by tenor Keith Browning who was deprived of both of his arias.

The ensemble singing was notably wonderful.

If you have not seen this production yet, we recommend that you stop reading here and resume after you have seen it.  And see it you must!

Director Louisa Proske has reimagined the story to focus more attention on the women of the #MeToo generation. Each one approaches her sexuality in a different manner. Perhaps you might even recognize yourself in one or more of them. They may be victims or survivors or masters of their own destiny but they are not ciphers.

We have always had a problem with the opening scene of this opera.  If Don Giovanni is raping Donna Anna why does she pursue him? We have always believed that she is in love (or lust) with him and will never ever marry the kind supportive Don Ottavio. But we are not a theatrical director and had to wait for Ms. Proske to make this clear.

The two lovers are going at it hot and heavy in a bedroom when Donna Anna's father the Commendatore bursts in on them.  The girl cowers in shame while the Don kills her father. She cannot admit this to her fiancé Don Ottavio and concocts a rape story.  False news?  LOL.

Neither is Zerlina an innocent. Ms. Alicea's face and body limned her initial scorn and her later willingness to be seduced. She too must put on a show for Masetto and pretend to be innocent. But everything changes when the Don decides that rape is easier than seduction. The sardonic slant and sexual innuendo of her "Batti batti" might have delighted the randy Mozart as much as it delighted us.

Donna Elvira truly wants to save Don Giovanni, as we mentioned above.  She is the "rescuer" and we all know women like that who fall for bad boys and try to reform them.

In Ms. Proske's version (BIG SPOILER HERE) the three women and Don Ottavio gang up on Don Giovanni, strip him naked and beat him. He is left quivering on the ground at the end of Act I and if you want to see some amazing acting, just look at Mr. Ward's feet!

At this point, the orchestration became very very strange. You will just have to hear it for yourself.

In Act II, he is in some kind of hospital room, totally hebephrenic. Measurements are being made, tests are being performed and disturbing appearing treatments are being administered. The other characters are in what appears to be a hospital waiting room, signing documents and comforting one another. Don Giovanni hallucinates; the doctor is perceived as the Commendatore.  He is in a hell of his own making. The horror of this scene is so intense that even the final ensemble cannot relieve it.

The major feature of Kate Noll's set is a large cube with a plate glass side. This served as bedroom and hospital room. What confused us was that there was a neon sign on it reading "MOTEL".  Perhaps the Commendatore saw his daughter's car out in front? Well, there were a couple similar inconsistencies but the transmogrification of plot elements worked for the most part.

Beth Goldenberg's costumes were apt, especially that for the gum-chewing Zerlina whose white wedding dress barely covered the essentials, so to speak. "Come fuck me" shoes completed the fashion statement.

We could go on and on but we hope that by this time you have seen it for yourself. Since a picture is worth a thousand words at least, we will put a carousel of photos from the production on our Facebook page Voce di Meche.  Enjoy!

(c) meche kroop

COSI FA MANHATTAN SCHOOL OF MUSIC

José Maldonado, Victoria Crutchfield, Thomas Muraco, Shaina Martinez, WooYoung Yoon, Polixeni Tziouvaras, Dongwei Shen, Sungah Baek, and Juan Lázaro

When Tom Muraco puts on an opera, you tend to show up out of FOMO.  To miss one would leave you feeling cheated out of a predictably delightful experience. The operas are astutely chosen, the talented students are wisely cast, and the bare bones style of production allows one to focus on the music. In this case, we had an intense exposure to Mozart's masterpiece of romantic entanglement--Cosi fan tutte.

Maestro Muraco himself conducted and the score for two pianos and harpsichord continuo (actually an electronic keyboard) was devised by the three keyboard artists themselves--Sungah Baek, Juan Lázaro, and Yixin Tan. The three did a great job and we were able to hear compositional elements that we missed when the work was presented with full orchestra. Actually, we think we heard more music.  Could it be that some music that is generally cut was restored?  Or did our ears deceive us? There is enough music in this opera for two operas!

The students of Manhattan School of Music are as fond of Maestro Muraco as we are. We sat next to the podium as he conducted and can attest to the fact that he knows every word in the libretto and every note of the score. His love for music and for his students was equally obvious.

As Don Alfonso, the older cynic who sets the crazy plot in motion, José Maldonado might have stolen the show, were the other artists not as fine as they were. His huge Falstaffian presence and voice, augmented by seemingly natural dramatic chops, created a real character. Every glance and wry smile, every barb carried weight.

His partner in crime, the wily Despina was performed by soprano Yesul Yeon whose slender voice was well focused and whose comic chops matched those of Mr. Maldonado. Her featured aria "Una donna a quindici anni" was very well done. We loved the way she exaggerated the rolling of her "r"s.

Since the theme of Lorenzo da Ponte's libretto was fiancé swapping, the opera requires four engaging singers that we can care about, even while laughing at their puerility. As Fiordiligi we had the shining soprano Shaina Martinez who successfully negotiated the wild skips of "Come scoglio". Legend has it that Mozart wrote it thus to make the soprano he disliked bob her head like a chicken, due to the way she sang high and low notes!

As her sister, we heard marvelous mezzo-soprano Polixeni Tziouvaras, who did herself credit in her aria "Smanie implacabili".  Mozart made sure that each singer had an aria. Her voice harmonized beautifully with that of Ms. Martinez, especially in "Prenderó quel brunettino". Mozart made sure that there were also plenty of duets, trios, quartets, etc.

Tenor WooYoung Yoon has a pleasant ringing tenor and created a fine Ferrando; we enjoyed his voice most in "Tradito, schernito"; he had some splendid duets with baritone Dongwei Shen who excelled as Guglielmo. His aria "Donne mie, la fate a tanti" was beautifully rendered in all of its angst. The voices of the two men blended as successfully as those of the women.

One of our favorite ensemble pieces, "Soave sia il vento" was gorgeously sung by Mr. Maldonado, Ms. Martinez and Ms. Tziouvaras. We could not have been more pleased with the musical elements.

But what about the production elements.  As we indicated, this is a bare bones production and Director Victoria Crutchfield did well for the most part in the interactions among the singers. We loved the way the chorus (all excellent, by the way) moved the "furniture" (just a bench, a table, and some chairs) with Despina in charge, pounding the floor to summon the furniture movers for a scene change, which always seemed to involve lifting things over her head.

Our only quibble was with a few anachronisms. Probably to avoid the cost of costuming, the action seems to have been moved to the present, what with the cell phones and contemporary clothing. So why did the women carry 18th c. parasols?  The "Albanians" became "hipsters from Williamsburg and Tribeca".  Anyone from New York would know that Tribeca is populated by very wealthy Wall Streeters. You'd be hard pressed to find a hipster there.  Better to have used Bed-Stuy or Bushwick.

For those of us who understand Italian, hearing one thing and seeing titles saying something else creates a momentary lapse of concentration and involvement. A "brunettino" is a man with dark hair, NOT a man in spectacles! These disjunctions are occurring more and more as operas are squeezed into time periods that do not fit.

Minor criticisms aside, it was a fun evening and made us realize that we have more in common with the 18th c. Viennese than with the 19th c. audience which found this opera vulgar and scandalous.

There will be a repeat performance on Sunday matinée with a different but presumably equally talented cast.

(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.

(c) meche kroop

FIGARO as TELENOVELA

Samarie Alicea as Susana and José Adán Perez as Figaro celebrating their marriage in Vid Guerrerio's version of Nozze di Figaro (photo by Ken Howard)

It has been a quarter century since our introduction to Mozart's Nozze di Figaro when Director Peter Sellars tackled it and presented it up at SUNY-Purchase-- in  modern dress and taking place in what appeared to be Trump Tower and starring the Trump family.  There were no titles and we hadn't a clue what was going on  We were lost and just enjoyed Mozart's music. 

In that quarter century, we have come to love Mozart's masterpiece above all others and have seen it probably 20 times, if not more. We have never welcomed the idea of updating it to contemporary times because the libretto is so rooted in the 18th c.

We were curious about the latest iteration, Figaro!, with a newly written libretto by Vid Guerrerio; our curiosity was satisfied last night at The Duke Theater on 42nd Street and we are pleased to report that, taken on its own terms, it makes for a delightful and insightful evening of theater. The choice of venue was perfect since the black box theater is just the right size and offers excellent sight lines and fine acoustics. The decision to not amplify the voices was the right one.

Pierre Beaumarchais' story line has been largely preserved, filled as it is with crazy characters and sit-com situations. Mozart's music has been largely preserved (although trimmed to a quick 2 1/2 hours) and valiantly played in a reduction for piano, string quartet and bass. Musical Director Raphael Fusco conducted from the piano.

What has been discarded is Lorenzo Da Ponte's libretto. Mr. Guerrerio has distilled the essence of the story, added and subtracted a character here and there, and written a libretto based on contemporary speech and slang that the mostly young audience could readily understand. We could not have predicted how successful this would be. 

In the 18th and 19th c., composer and librettist worked hand in hand to match the rhythm of the native language to the rhythm and phrasing of the music. Mr. Guerrerio was obliged to fit his libretto into music already composed. He deserves a great deal of credit for a task we would have deemed impossible. The cast deserves credit for good diction that made the libretto understandable for the most part, except for some lapses in rapid patter passages. Since the titles were very faint, this clarity was a distinct advantage.

Director Melissa Crespo kept up a rapid pace. During the overture, 18th c. characters in elaborate costumes began with a stately dance that was interrupted by the 21st c. hip-hop character L'il B-Man teaching them some modern moves. This served to carry us into Act I. The action has been moved to Beverly Hills and the emphasis has been placed on the awkward interactions between the working class and the leisure class, with all its attendant power struggles.

Here, the Count has been transformed into Paul Conti (performed by Luke Scott), owner of a large estate. His wife, the neglected Countess, now appears as Roxanne (performed by Raquel Suarez-Groen, looking way to young for the part), an over-the-hill actress concerned about aging and addicted to plastic surgery in an attempt to win back her straying husband.

Figaro (José Adán Pérez) is an illegal Mexican immigrant (or so we think until the "reveal") in Mr. Conti's employ.  His bride is Susanna (Samarie Alicea), who works for the Conti's as well; in this case, it is Susana's debt that needs to be paid off, a debt to a Korean factory owner, Ms. Soon-Yi Nam (Sahoko Sato Timpone) , who advanced her funds to get across the border. This character replaces Marcellina as Susana's nemesis. Dr. Bartolo is now Babayan (Ethan Herschenfeld), an Armenian thug who is the Korean's accomplice.

Barbarina has been eliminated, and as substitute we have the Conti's punk daughter Barbara (Emma Grimsley) who has grown up alongside Li'l B-Man (Dwayne A. Washington), a hip-hop guy whose arias are not well received, filled with "bitch" and "ho" as they are.  He will have to grow up to win her affection. A new character is his mother Donna (Lori Marabal) who doesn't want him to be sent off to military school. 

Basilio has been transformed into Basel (Michael Kuhn), a tutor. The gardener Antonio is here called Atzuko (David Castillo).

There were no weaknesses in the cast but we were most taken with the performance of the lead couple.

Set design was simple--a large picture window overlooking palm trees with some simple furniture suggesting affluence. A swimming pool is created by suggestion and a garden (for the final act), by hedges. Lighting Design is by Gina Scherr and Costume Design is by Lux Haac who did particularly well with Roxanne and Susana's costume and wig exchange for the final act.

This all works out quite well in conveying the story of a boss trying to take advantage of his power over his employees. This makes the production relevant to our time without sacrificing entertainment value. One tends to forget that opera served an important role in shifting political values in its own time. Here, we find ourselves in a similar time of change, a time when we need the arts to support this change.

We are always in favor of presenting opera in ways to engage young audiences. By the laughter and applause we heard, a good time was had by all. In total agreement was the fellow reviewer who accompanied us and a young soprano we spotted in the audience who also loved the show.

Today, we listened to a thrilling broadcast of Nozze di Figaro (The Metropolitan Opera Saturday broadcast). We heard it in a new light.

(c) meche kroop