IN A GADDA DA VIDA

The Spirit World--Magda Gartner and her Fairies

The Human World--Emily Peragine, Joey Rodriguez, Daniel Byerly, and Allison McAuley

The birth of a new opera company is always a cause for rejoicing but when their debut is as outstanding as that of Gramercy Opera, we find ourselves rather over the moon.

Well actually we found ourselves in a charming verdant private garden on E. 61st St. which had been decorated with strings of twinkling lights and colorful flowers, both nature made and man made. This perfectly suited an entertainment that involves two worlds--the human world and the spirit world.

Leave it to two opera singers to accomplish the impossible!  Major props to Magda Gartner and Allison McAuley who joined forces to create Gramercy Opera.

What we experienced with such complete joy had very little to do with what was presented in 1692 as The Fairy Queen, a masque or semi-opera by Henry Purcell, loosely based on Shakespeare's late 16th c. comedy. 

What we experienced was the result of an impressive show of creativity by Director Brittany Goodwin who also adapted William Shakespeare's text from Midsummer Night's Dream and contributed some spoken dialogue of her own. We were wildly impressed!

The music, of course, was by Henry Purcell and was performed by a chamber orchestra using original instruments. There was a string quartet augmented by two trumpets (almost unrecognizable to those accustomed to the modern trumpet) and a pair of oboes d'amore and a harpsichord, all conducted by David Stech. Even without the enrapturing production design by Maria Torffield we would have enjoyed the music.

And what a production it was! Coming in at just under two hours, the production excised the little Indian changeling, the framing device of the marriage of the Duke of Athens and Hippolyta, as well as the gathering of rustics producing a play as entertainment for the festivities involved with said marriage.

Wisely Ms. Goodwin placed the emphasis on the interface between the human world and the spirit world. The humans flee into the woods to escape paternal interference but meet interference from the spirit world. It rests upon Puck's naughtiness to baffle and confuse the lovers--until he finally establishes order.

The cast was flawless. Mezzo-soprano Magda Gartner was perfect as Titania, angry at Oberon for his philandering. As Oberon, baritone Angky Budiardjono had a marvelous sound and exotic look just right for the part. His primary interaction was with the Puck of soprano Chelsea Feltman who both introduced the opera and brought it to a successful conclusion. She was, well, "puckish" in her compelling characterization. She enchanted us!

The fairies included the rich-voiced mezzo-soprano Kat Liu as Cobweb and soprano La Toya Lewis as Mustardseed, who harmonized beautifully in their duet. Sopranos Rachel Duval, Jaeyeon Kim, Megan Brunning, and Sara Lin Yoder added to the fairy fun, along with baritone Frank D. Fainer and tenor Carlos J. Jiminez who sang and danced the role of Cupid.

Now what of the humans! Canadian soprano Allison McAuley was totally convincing as the desperate Helena pursuing the rejecting Demetrius of tenor Daniel Byerly. As "fair Hermia" we heard the lovely soprano Emily Peragine who defied her father to elope with the Lysander of baritone Joey Rodriguez. Mr. Rodriguez had a great moment as he tried to persuade Hermia to lie closer to him.

We also enjoyed baritone Paul La Rosa's performance as Bottom, who wore his donkey-head quite rakishly.

Did we say how superb all the voices were?  We guess we did.

And now to discuss the production which involved some of the most imaginative costuming and makeup one could imagine. We suspect that imagination was in greater supply than funds but one could not tell that from the colorful results.

Ms. Goodwin's direction involved some stunning imagery that lingers in the mind's eye as much as that of Frederick Ashton's ballet The Dream. There were so many magnificent moments both scenic and choreographic that we find ourselves running out of words to praise.

Ms. Goodwin shared with us her casting method which involved asking those auditioning to improvise. That probably explains how integrated the performers were.

We urge our dear readers to see and hear for themselves. We are sure you will be as enchanted as we were. This weekend is sold out but hopefully you will find tickets for next weekend. If you succeed you will be the happier for it.

(c) meche kroop

GERMAN AS IT WAS MEANT TO BE SUNG

Henry Meyer-Oertel, Aeneas Humm, Magda Gartner, Babette Hierholzer

It was a special evening.  It was a VERY special evening. It was a most rewarding lieder recital given by the German Forum at the lovely home of German Consul General Brita Wagener, 42 stories above the congested streets of midtown Manhattan. 

There are two very special qualities to appreciate about the German Forum. One is the valuable performance opportunities they provide for German speaking young artists; the other is the valuable entertainment and stimulation they provide for their members and guests. Membership comes at a modest cost and the socializing before and after the recital is always gemütlich, whether one is German or not.

Last night's recital brought back two gifted artists whom we reviewed last February (review archived); we were thrilled for the chance to hear them again. The program comprised both lieder and opera duets.

Mezzo-soprano Magda Gartner opened the program with Robert Schumann's Frauenliebe und Leben, a highly dramatic song cycle he composed in 1840, just ten years after Adelbert von Chamisso wrote the poetry. We don't care that the poetry has been criticized for taking the position that a woman's life revolves around a man. This was written in the 19th c. and such was often the case. Listening to the text gives us insight into "a woman's love and life".  Indeed!

But listening to the music provides emotional content which amplifies our experience. Schumann's writing conveys many aspects of love, as it grows from childlike adoration to mature acceptance of the responsibilities of love, the satisfaction of motherhood, and eventually to the pain of loss.

It is up to the singer and collaborative pianist to show what the poet tells. Each time we hear this cycle we hear something new, as one tends to do with great music. Last night, Babette Hierholzer, Artistic Director of the German Forum,  accompanied mezzo-soprano Magda Gartner in a fine performance of the cycle.

Ms. Gartner's voice has a lovely caramel-toned timbre that she employs well with apt phrasing and lots of feeling. The frivolity of an infatuated young girl gave way to the serious consideration of the responsibilities of marriage. The ambivalent joys of the wedding day yielded to the unambivalent joys of motherhood. A new roundness of tone crept into Ms. Gartner's voice.  The hollow barrenness of widowhood in the final song was relieved by the postlude in the piano which reflected back to the beginning joy.

Ms. Gartner has a firm hand on all these colors; we sense that she is on the right track with her interpretation and that she will continue to develop even more subtleties of coloration.

We were as excited to hear an undiscovered lied as Ms. Gartner had been to find the score--in a flohmarkt, of all places!  Composer Robert Fischhof (1856-1918) came from a Viennese family with musical talent on both sides. He studied with Bruckner and Liszt, but his voice is his own. 

Ms. Gartner committed herself completely to his "Stark wie der Tod" which challenged the very bottom of her register but did not defeat it. The sentiments of poet Theodor Salzburg-Falkenstein came across beautifully and the vocal line swelled to a glorious climax.  We wanted more from this all-but-forgotten composer!

Taking over for the second half of the program was baritone Aeneas Humm, a youth of twenty years with a mature instrument that belies his tender years. Already famous in the German speaking world, his talent has been recognized and celebrated abroad. Here in New York City, this is only our second time hearing him but it surely won't be the last.

He chose to perform selections from Schumann's Dichterliebe, a cycle of songs about a poet's love, with text by Heinrich Heine. This cycle also requires many changes of vocal color as the poet moves from hopefulness to ecstasy and adoration of the beloved. Mr. Humm colored his voice darkly for the lower register of "Im Rhein, im schönen Strome" and conveyed all the bitterness in the ironic "Ich grolle nicht". In "Aus alten Märchen" he captured the dreamlike essence of a fantasy and changed abruptly when the poet confronts his reality.

It was such a pleasure to hear German sung by native born Germans without having to worry about diction!  But Mr. Humm also gave us a lovely song in fine French--"Le Fugitif" by contemporary Berlin composer Alexander Liebermann, whose work we so admired in last February's recital. The setting of text by Paul de Roux was rapturously rendered by composer, pianist and singer.

Next on the generous program were three duets by Mendelssohn, written originally for two sopranos. Settings of texts by Heinrich Heine, they allowed the two singers to adjust their voices to one another and blend in 19th c. harmony. Our favorite was the gentle "Abendlied", a contrast with the final song "Wasserfahrt", a propulsive song in which a sailor deals with the loss of love.

We were fortunate to have two encores--duets by Mozart--quite fitting since Mostly Mozart has just begun at Lincoln Center (reviewed yesterday). In "Il core vi dono" from Cosi fan tutte, Dorabella and Guglielmo pledge their love.  In "La ci darem la mano", from Don Giovanni, the eponymous hero succeeds in luring Zerlina to his castello.

Mr. Humm is returning to Europe and we hope we won't have to wait to long for his return.  Ms. Gartner however will be performing in the upcoming Dell'Arte season and we are looking forward to hearing her next month.  And so should you!

© meche kroop

A PRE-VALENTINE TREAT FROM THE GERMAN FORUM

Michael Hey, Magda Gartner, Babette Hierholzer, Äneas Humm, Alexander Liebermann, and Henry Meyer-Oertel

Those who love German culture (count us in!) should be aware of the exciting events programmed by the German Forum, of which Henry Meyer-Oertel is President and Babette Hierholzer is Artistic Director. This worthwhile organization gives young German-speaking artists the opportunity to perform in New York City. We have attended several of their events and have always enjoyed them immensely.

Last night we were introduced to two excellent new singers, a highly talented organist, a 20th c. Swiss composer, and a contemporary composer whose work we actually loved (surprise!); we also enjoyed a lovely cocktail hour with German delicacies. Food for the spirit and food for the body!

Most astonishing of all is the 20-year-old lyric baritone Äneas Humm whose talent surpasses his youth by a huge factor. It is a beautiful instrument with lovely overtones; the manner in which he employs it indicates a great deal of serious study. A Züricher, he is already well known in Europe.  Last night was his New York debut.

He showed vocal expressiveness in two songs by Edvard Grieg and a trio of songs by the 20th c. Swiss composer Othmar Schoeck, a composer to whom we were thrilled to be introduced. Having gone online to amend our ignorance we discovered that he wrote several hundred songs. We can only hope that other singers will avail themselves of this vast collection. The three we heard were lovely, with our favorite being the melodic "Nachklang" with text by von Eichendorff.

Mr. Humm gave a tender performance of "O du mein holder Abendstern", from Wagner's Tannhaüser, exhibiting fine dynamic variety and coloring. Babette Hierholzer accompanied him beautifully on the piano. From Donizetti's L'Elisir d'amore, he sang "Come Paride vezzoso" with substantial control of the phrases at the lower end of the register and a nice facility with the fioritura. He made a very good attempt at portraying the arrogant Belcore but his gentle nature kept poking through.

He also sang a pair of songs by the prolific Viktor Ullmann who died tragically during the Holocaust. This is another composer who merits more attention from singers. Mr. Humm sang two songs from The Songbook of Hafis, translated from Farsi and dealing with the jolly and tragic aspects of alcoholism.

As if this were not enough, we heard the world premier of "Le Fugitif" by the gifted young composer Alexander Liebermann. Readers may recall how much dissatisfaction we have expressed with contemporary songwriting and will be surprised to learn that we loved this song, not only the piano writing but the satisfying melodic vocal line. The French text was beautifully sung by Mr. Humm. We want to hear more from Mr. Liebermann!

French seemed to be the language of choice for mezzo-soprano Magda Gartner who excelled in her "Seguidilla" from Bizet's Carmen and also in "Nobles seigneurs" from Giacomo Meyerbeer's Les Huguenots. Her French was superb.

We enjoyed "Sei wir wieder gut" from Richard Strauss' Ariadne auf Naxos and also two arias in Italian from this tri-lingual artist. She graciously introduced us to two of Mozart's ladies going off the deep end. We heard Donna Elvira's "Ah! Fuggi il traditor!" from Don Giovanni which showed off her bright upper register and then Dorabella's difficult aria "Smanie implacabili" from Cosi fan tutte, in which she captured the character's adolescent angst.

We do not consider ourself to be a fan of organ music but we were definitely dazzled by the artistry of Michael Hey who is establishing an impressive career since graduating from Juilliard last year.  He "let out all the stops" (sorry about that) in Léon Boëllmann's "Toccata" from Suite Gothique and in Max Reger's "Phantasy on chorale" which reminded us of Phantom of the Opera.  

He also gave a nuanced reading of J.S. Bach's "Schmücke dich, O liebe Seele".

We always enjoy Ms. Hierholzer's collaboration, giving each artist a fine partnership and being particularly attuned to the varying demands of the music.

This was an almost overwhelming recital, stuffed with delectable goodies. We always enjoy discovering new music and new artists. We are feeling grateful to the German Forum for providing this experience.

(c) meche kroop