MANHATTAN SHOOL OF MUSIC DOES CACCINI

 Curtain call for brilliant cast members of Graduate Opera Theater

The title was longer than the opera!  Rarely do we wish an opera was longer but in this case it was over too soon. La liberation di Ruggiero dall'isola d'Alcina was composed in 1625 by Francesca Caccini, daughter of the famous Giulio Caccini who sired and taught two talented daughters and composed our favorite Baroque art song "Amarilli, mia Bella". 

When we first arrived in Manhattan we were exposed to an all-day outdoor production of Ariosto's epic Orlando furioso, and since then have seen operas based on the work from time to time. In this case, librettist Ferdinando Saracinelli extracted an episode dealing with the knight Ruggiero who abandoned his intended Bradamante and his military duties by virtue of--no by vice of--the seductive sorceress Alcina who seduces men and then turns them into beasts--in this case plants.

The "good" sorceress Melissa disguises herself as Ruggiero's father, breaks the spell, and frees Ruggiero to take up the sword once more and reunite with Bradamante. Then Melissa frees the enchanted plants and banishes the furious Alcina.

We read the director's notes after the performance as is our wont. James Blaszko had some interesting intentions of a political and sociological nature which seemed, in our opinion, a bit too heavy for this slight work to bear. We were happy to hear the gorgeous music and feast our eyes on a most imaginative production with stunning costumes. Mr. Blaszko deserves maximum credit for avoiding the trend of excessive stage business distracting from the singers, a defect in the recent Juilliard production of Atalanta.

As Alcina, Madison Marie Fitzpatrick gave a stunning performance, utilizing similar techniques as heard in bel canto singing to limn a deceitful character who is capable of lulling seductivenes in the early scenes and ravishing rage at the end when she loses everything. As Melissa, Margaret Macaira Shannon gave a performance of towering force with notable depth in the lower register. 

Justin E. Bell's performance was just right for the hapless Ruggiero, tender in the love scenes and ending up as a stalwart warrior.

Alcina's three handmaidens, in some gender blind casting, were portrayed by Zihan Xiu, Haolun Zhang, and Chenxin Wang. To hear the close harmonies of three high voices was unusual and stunning.

We are not sure what a "Scenic Coordinator" does that is different from a Set Designer but Rodrigo Hernandez Martinez might have been responsible for the several steel tables on which lay the "plants", injured and bandaged and tenderly watered and cared for by the three sirens. It was an arresting image and brought to mind how people give up power to be taken care of.

First and foremost in a work like this is the instrumentation and its execution. In this case Maestro Jorge Parodi used his magic hands to elicit some gorgeous playing by a small ensemble comprising a trio of violins, cello, double bass, and a pair of flutes plus a guitar. Continuo for the lengthy recitativi was performed by Jeanne-Minette Cilliers.

The imaginative costumes were designed by Christopher Metzger. They were colorful, interesting, and of no particular time or place.

We left thinking about some things that the director never intended. There is a parallel between this work and Wagner's Tannhäuser in which a man is torn between love/sex (bad) and knightly duties (good). This is pretty strange in today's world but, as they say, autre temps, autre moeurs. In our lifetime it has been more like "make love, not war".

When Signora Caccini wrote this piece, as a casual piece d'occasion for a visiting Polish prince, could she have possibly imagined that an audience of opera lovers would be sitting enchanted for a single hour? Can our music world today produce anything that will survive four centuries? This thought gave us chills.

© meche kroop

A TALE OF TWO FIGAROS

Curtain Call for Mercadante's I due Figaro at Manhattan School of Music

We entered the theater at Manhattan School of Music rain soaked, windblown, and grumpy.  Three hours later we walked out smiling from ear to ear and barely aware of the weather. Opera will do that to you! Part of our glee was the result of seeing so much talent onstage at one time; part of it was because the opera itself is so very very delightful.

Most opera lovers are aware of the Beaumarchais plays known as the Figaro trilogy. Mozart selected the second play for his beloved Le Nozze di Figaro with libretto by Lorenzo da Ponte, which premiered in 1786. In 1816, Rossini chose the first part for his own enduring opera buffa, Il barbiere di Siviglia, with libretto by Cesare Sterbini. The third part La mère coupable was set by Darius Milhaud in 1966. Not beloved. Not enduring.

So from what source did Felice Romani get his libretto for this effervescent work that was set by Saverio Mercadante? It was based on a French play by Richard-Martelly who had his own take on the interactions of the very same characters--Count Almaviva, his wife the Countess (formerly Rosina), the wily Figaro, and the lovelorn Cherubino. Apparently these characters were so beloved and so reminiscent of stock characters drawn from commedia dell'arte that writers just couldn't abandon them. They have delighted us ever since; marital disappointment and infidelity have not gone out of style, nor have young lovers facing obstacles!

So how did Mercadante's opera get lost until 2011 when Ricardo Muti rediscovered it? Jane Vial Jaffe's program notes indicate a number of artistic and political issues that delayed its premiere from 1826 until 1835--"its inherent social criticisms and immorality offended both the court and the church". By 1835 when censorship relaxed, opera buffa had sadly gone out of style.

Fortunately, Dona D. Vaughn, Artistic Director of the Manhattan School of Music Opera Theater, recognized the potential of the work--fortunate for the talented group of singers who appeared to be having the time of their lives and also for the audience who seemed to be enjoying themselves beyond the usual pleasure of opera going.

Credit must be shared by Ms. Vaughn, the gifted cast, the gorgeous costumes of Tracy Dorman, the clever set of Shoko Kambara, and the fine playing of the MSM Opera Orchestra under the baton of Stefano Sarzani who also provided the continuo.

The story made little sense on the page but Ms. Vaughn's direction made everything clear. The Count and Countess have a marriageable daughter named Inez who is in love with Cherubino. Figaro, far less charming than he was in the earlier iterations, is plotting to get her married off to one Don Alvaro, with whom he plans on splitting the dowry. Susanna, no longer sweet and innocent, is just as manipulative as her husband and schemes with the Countess and Inez to foil Figaro's plan.

The casting was absolutely perfect, both vocally and dramatically. Yu Ding has enviable stage presence and a robust but sweet-toned tenor. With Italianate phrasing he created the character of the Count, one which seemed rather consistent with the Count in the Mozart opera. He is often clueless and easily swayed by Figaro and Susanna who know just how to manipulate him. Nonetheless, Mr. Ding's Count seemed to be a more forgiving man, having acquired some better behavior at the conclusion of Mozart's opera.

Mezzo-soprano Xiao Xiao created a lovely dignified Countess who, in spite of a gorgeous aria expressing her disappointment in love, still wants her daughter to have the same opportunity to marry for love. Her voice is warm and affecting and served to illuminate the character.

As Inez, Jiyu Kim utilized her high soprano to excel in the high-flying coloratura passages. Her petite frame served well in her portrayal of a young innocent girl.

Mezzo-soprano Alanna Fraize was a marvel in the breeches role of Cherubino. She made ample use of facial expression and gesture to create a believable man in the throes of love, desperate to achieve his love object. There was plenty of fioritura for her to play with and we enjoyed every note.

It was difficult to believe that bass-baritone Evan Lazdowski is still an undergraduate. His performance as the conniving and greedy Figaro was spot on with effective vocalism and character creation.

Susanna was effectively portrayed by soprano Blair Cagney who has a nice full well-centered tone, superb coloratura, and a way of conveying wiliness without malice.

New to this part of the trilogy is the character of Plagio, wondrously created by Daniel Choi. Plagio is a young playwright and serves as a "meta" device. Figaro has promised to help him write a play and his play is the story of the opera. Mr. Choi made an adorable wide-eyed presence onstage, hiding here and there, observing the ongoing action, just as we were. The characters in the opera wrote his play for him!

Tenor Sehyun Lee took the role of Don Alvaro, the suitor whom Figaro was promoting. His unmasking at the end was the deus ex machina.

The story is filled with tropes of the era. Disguises, people hiding and spying on each other, false identities, and plots to deceive. Certain situations provide resonance with situations in the other two parts of the trilogy, i.e. Cherubino hiding in the closet. We still find them funny!

The music is filled with lavish melodies and also musical devices reminiscent of other bel canto operas. Mercadante utilizes Rossinian ensembles in which each character goes crazy but with his/her own vocal line; often he doesn't even wait for the end of the act.

We have been trying to select our favorite musical moments and it sure is difficult. The first act trio of Inez, the Countess, and Susana was delightful and the Countess' aria about love was moving. The duet between Susanna and Figaro in Act II utilized a Spanish rhythm that reminded us that we are in Seville.

Further evidence of location could be found in Shoko Kambara's clever set design which was like a cartoon. There were two orange trees flanking the door to the palacio. The courtyard had a pig roasting on a spit and picnic tables set up for the betrothal celebration. For the garden scene, the door was lifted and greenery lowered. For indoor scenes, closets were lowered for the characters to hide in.

Ms. Dorman's gorgeous costumes also bordered on cartoonish, in a very beautiful way. Peasants were dressed in becoming pastel dresses, the accurate length for that period. The aristocrats were resplendent and extremely fancy. Even the wigs by Bobbie Zlotnik were perfect and just a bit exaggerated for effect. K. Meira Goldberg's choreography was delightful.

We cannot stress how thrilled we were with the performances and their ensemble nature. Chorus Master Jackson McKinnon elicited impressive performances from his 13-member chorus of peasants.

We have rarely enjoyed a comedy this heartily and hope you, dear reader, will take advantage of the two additional performances. Even if you see a different cast you will definitely be pleased. We know the other cast and they are just as talented.

© meche kroop

A MEMORABLE NIGHT OF OPERA SCENES AT MSM

Joseph Andrew Yu, Xiaoya Guo, and Yvette Keong

We go to the opera to have a good time, not to boast of our interest in "highbrow culture". Last night we had a wonderful time watching scenes from four different operas at the Manhattan School of Music, all directed by the inventive Laura Alley, who never "plays a wrong note". Each scene was "pitch perfect".  The students, drawn from many parts of the world, exhibited healthy young voices with fine technique and impressive dramatic skills.

Two of the operas were oft-heard standards given beautiful productions and two of them were new to us but significant in the history of MSM. Scott Eyerly's The House of Seven Gables was given its world premiere by MSM in 2000 and Marc Blitzstein's spoof The Harpies was given its premiere in 1953 by MSM. It is rare that we enjoy contemporary opera in English but we did last night!

The program began with a scene from The House of Seven Gables in which boarder Holgrave (bass Weichang Wang) is photographing the Pyncheon family, comprising Aunt Hepzibah (mezzo-soprano Xiaoya Guo), Clifford (tenor Joseph Andrew Yu), and lovely young Phoebe (soprano Yvette Keong) who is having a lighthearted flirtation with Holgrave. We were pulled into the story and wanted to see the rest of the opera! Regular readers will be surprised since our taste for the modern is very rarely positive. The music was appealing, the acting was engaging and the voices just glorious.

Second on the program was The Harpies, which reminded us a bit of Offenbach by virtue of its wit.

The blind oracle Phineus (tenor Alexander Mason) is tormented by the avian Furies (Emilyn Badgley, Natalie Rumer, and Erin Wagner) who are not nearly as sweet as the Rheinmädchen in Wagner's The Ring Cycle.  Oh no, they eat Phineas' food and smell bad! Along come three Argonauts to the rescue (Taicheng Li, Daniel Rich, and Zachary Brown) and in a sensationally staged battle and chase scene, Phineas' wellbeing is restored.  The gorgeous goddess Iris (a radiant Shelén Hughes) appears in rainbow attire and sends the Harpies off to torture other victims. The voices were as fine as expected but the ensemble work was even better. We always love harmonies!

Returning to the familiar, we were delighted by the scene from Richard Strauss' Ariadne auf Naxos. Christina Roszhart has a huge soprano with promising roles in her future. She excelled as the eponymous Ariadne, abandoned on the isle of Naxos by her erstwhile lover Theseus. In lovely contrast were the voices of the three nymphs Najade (Hyeree Shin), Echo (Yejin Lee) and Dryade (Sarah Brownawell) who danced and sang their pity for her in suitable choreography and gorgeous vocal harmony.

Enter the feisty Zerbinetta (Kelly Singer) in full commedia del'arte attire, along with her troupe of entertainers. Esteban Zuniga portrayed Brighella, Alexander Mason had the role of Scaramuccio, Harlekin was portrayed by Marcel Sokalski, and Truffaldin was enacted by Edward Lim. Not only was the singing uniformly excellent but the staging and acting left no doubt about the talent onstage.

MATCHING BRACELETS

Philippe L'Esperance and Hongni Wu in Rossini's La Cenerentola

Once upon a time our parents read us the softened version of Cinderella, cleaned up so as not to frighten small children; you know, the Disneyfied version.  Since then we have read the original violent and scary versions by Charles Perrault and Wilhelm Grimm.  

We do not know which version librettist Jacopo Ferretti adapted but he wrote the libretto in three weeks (repurposing some music already written), replacing the wicked step-mother with an abusive step-father and the fairy godmother with the kindly tutor Alidoro. Similarly, the glass slipper was replaced by a bracelet. It is believed that the circumstances of production in 1817 did not allow for elaborate magical effects.

Nonetheless, there are elaborate magical effects in the music, created by Gioacchino Rossini in barely more than three weeks! That guy could sure work under pressure.  He was but 25 years old and already had Il Barbiere di Siviglia under his belt. We love Rossini for his sparkling tunes, his lively ensembles, and also because he wrote such great roles for the mezzo-soprano fach.

Last night we attended a performance of this comic masterpiece held at the very suitable Gerald W. Lynch Theater at John Jay College, utilized because the theater at Manhattan School of Music is under construction. We had the most marvelous time!

Everything worked in concert to provide an evening that proved that high culture and entertainment can coexist. Probably, in Rossini's day, opera was just entertainment, but in our time, people expect opera to be a bit forbidding.  It doesn't have to be, as this rollicking production has proven.

A highly talented cast revealed not a single weak link. As the much put upon title character, we heard mezzo-soprano Hongni Wu, whose distinctive instrument and engaging onstage presence made a huge impression. We have heard her several times before and will hear her next Sunday at the Met National Council Finals. She fully deserves to win!

This opera cannot work unless the title character wins our heart. We do not care whether she is spunky or submissive, as long as she is engaging. We must want her to win the Prince!

We do want to say a word about technique. We came to the opera directly from a master class with Joyce DiDonato who coached a young mezzo in the final aria "Nacqui all'affanno...Non piu mesta". We are pleased to report that Ms. Wu was not just engaging but vocally perfect--legato where indicated and bursting with fireworks in the fioritura.

Her Prince Ramiro was portrayed by the princely tenor Philippe L'Esperance, also a familiar voice in our ear. His tenor is just as sweet as we would want it and his bearing was aristocratic. But he was not at all stiff.  Just watching his face as he observed his valet pretending to be him (and playing it way over the top) was a lesson in "reactive acting". To put a "plus" after the "A", all he needs is a bit more float in the top notes.

Baritone Dongwei Shen created a marvelous character--reveling in the opportunity to play the Prince, and playing it to the hilt. Swathed in red velvet and white "fur" trim, he courted the two step-sisters assiduously and successfully, but he couldn't succeed with Cenerentola whose heart was already stolen. We enjoyed his phrasing and pleasing tone.

Bass-baritone José Luis Maldonado has always impressed us with a voice as large as his frame and an easy dramatic focus that convinces us of whatever character he is playing.  Here, he is Cenerentola's mean step-father who has used her patrimony to provide lavishly for his two natural daughters.

Traditionally, Tisbe and Clorinda are played as stereotypically spoiled and vain. We are happy to report that no new ground was broken and we were able to enjoy lots of laughs at their expense. Soprano Kelly Singer as Clorinda and mezzo-soprano Polixeni Tziouvaras as Tisbe were as superb in their vocal harmony as they were vicious in their competitiveness.

The character that makes everything happen is Alidoro, Prince Ramiro's tutor. Bass-baritone Andrew Henry sang with marvelous musicality and was as convincing as the beggar as he was as the guiding force. Who needs a Fairy Godmother when you have such a wise and generous tutor!

Jay Lesenger's direction was always spot on with a number of clever touches that were unique to this production. We loved the scene in which Cenerentola's imagination runs away with her in Act II, Scene 2. Also notable was the scene in which the Prince's courtiers march on in unison, each bearing a rose for the fake Prince to snatch. The courtiers were played by Hyunsung Shin, Zachary Brown, Ethan Fran, Yongjae Lee, Wenjie Ma, Alexander Mason, Tommy Wazelle, and Shuo Yang. Their choral work was stellar, thanks to Miriam Charney.

Less was heard from the Ladies of the Court who only appear in the final scene--Nuriel Abdenur, Xiaotong Cao, Chia-Wen Chen, Qiyu Chen, Sulgi Cho, Peiyao Hu, Shinhye Kim, and Jianing Zhang. Their voices harmonized well and they looked great, thanks to Costume Designer Elizabeth Clancy.

Sets by Peter Harrison worked well. The home of Don Magnifico contained a chimney for Cenerentola to sweep at one end and a vanity at the other end, with dozens of hatboxes stacked up for Tisbe and Clorinda to demonstrate their self-absorption.

To portray the gardens and the vineyards of the palace, there were hedges and arches dropped from the flies and hoisted when not needed. We cannot forget the scene in which Don Magnifico proves his worthiness to become the wine steward with a tastevin around his neck. There is something very funny about well-performed intoxication.

We must say a word about Julie Duro's lighting design. It was an inspired choice to radically darken the stage and highlight the individual who was having a private moment, such as the aforementioned scene when Cenerentola has returned home and is beset by fantasies.

Gary Thor Wedow used his animated hands to elicit a musically marvelous performance from the MSM Opera Orchestra. None of the superb vocal performances could have happened without their devotion to Rossini's melodies.

(c) meche kroop

FOUR SCENES-FOUR MOODS-FOUR LANGUAGES

Finale from Falstaff  performed by Manhattan School of Music Opera Theater

After our delightful evening at Juilliard last night it seemed like time to show Manhattan School of Music some love.  MSM has a great deal of depth in its vocal department, one of the top training programs in the world, and attracts talented young singers from all over the USA and worldwide. Over 40 countries are represented. Their list of alumni looks like a Who's Who of the opera world.

Last night the MSM Opera Theater, of which the esteemed Dona D. Vaughn is Artistic Director, presented four opera scenes, apparently chosen for variety of mood and language, and to show off the special skills of the current crop of graduate students. There wasn't a disappointing voice to be heard.  As a matter of fact, the vocal glories were abundant.

In place of orchestral accompaniment, we had four hands at two pianos--a pair belonging to Jorge Parodi and another to Scott Rednour. Maestro Vlad Iftinca conducted sans baton; he clearly was involved with every singer and every phrase, using both hands to bring out everyone's best.

What made the evening so enjoyable, aside from the splendid singing, was the professionalism of all concerned. Director Laura Alley never fails to honor the piece and does not torture the libretto to fit into a self-serving "concept".  The pieces were staged with a minimum of props but nothing was missed. Costumes were not lavish but were appropriate and tasteful. We ourselves prefer creativity and imagination over distracting extravagance.

The program opened with "The Presentation of the Rose" from Richard Strauss' Der Rosenkavalier, one of our favorite operas. The nouveau riche Herr Faninal (resonant baritone Shuo Yang) is excited about his daughter's marriage into nobility. Young Sophie (crystalline voiced soprano Yesul Yeon) considers her obligations as a wife, whilst her chaperone Marianne (lovely mezzo-soprano Madalyn Luna) tries to keep Sophie's exuberance in check.

Octavian arrives in the person of the marvelous mezzo Hongni Wu in travesti who falls instantly in love with the beautiful Sophie. The two singers created marvelous chemistry together which made the scene work beautifully.  Even if you never saw the opera you could tell that Sophie will never ever marry the old Baron Ochs to whom she is affianced. The duet between Ms. Yeon and Ms. Wu told us everything we needed to know. We observed that Maestro Iftinca was in love with both of them!

An abrupt change of mood took place for the second scene which we believe was actually the entirety of Ned Rorem's 1951 opera A Childhood Miracle. The libretto by Elliott Stein was based on a creepy Hawthorne story in which two little girls (convincingly portrayed by mezzo-soprano Charlotte Merz and soprano Kristina Brost) play in the snow and build a snowman (tenor Elijah Graham) which comes to life.

Their mother (mezzo-soprano Monica Talavera) is sitting indoors with her sister Emma (mezzo-soprano Polixeni Tziouvaras) doing needlework and gossiping. Father (bass-baritone Andrew Henry) is upset to see his daughters with a strange man and insists that he come indoors where he melts. The daughters run outside into the snowstorm and turn into snow, or something else which wasn't exactly clear.

It is our opinion that magic realism is best done by Latin Americans, like Gabriel Garcia Marquez. Perhaps some Victorian touches would have helped.  The story seemed more tragedy than miracle. Still, the singing and acting were exemplary and Rorem's writing was more musical than most 20th c. writing. Thanks to English diction coach Kathryn LaBouff, every word was clear.

The mood turned again to a more somber contemplative scene from Gluck's Iphegénie en Tauride. Gluck's music gave us plenty of variety, expressing the mood of the ocean from calm to stormy. If the lovely mezzo-soprano portraying Iphegénie (Yunlei Xie) has not had ballet training we would be rather surprised since her physical movement was as graceful as her phrasing. 

In this scene of prayer for protection, she is surrounded by a chorus of Priestesses and we were impressed by the unison feature of their singing and movement. French coach Elsa Querón must get some credit! There is a lot of depth in this chorus and evidence of intense rehearsal. The two chief priestesses were sung by sopranos Si-Yeon Kim and Sasha Gutiérrez Montaño. The staging here was particularly lovely with the chorus dressed in black and carrying candles.

The final work on the program was the final scene from Verdi's Falstaff, fortunately not updated to the 1950's, as it is in "the big house". We think José Maldonado absolutely owns the role of The Fat Knight. His voice is as expansive as his girth and his acting conveyed every nuance of terror, humiliation, abject self-realization, and finally humorous self-acceptance.

The cast seemed to be having as much fun onstage as we experienced in the audience. We cannot deny that we enjoyed seeing ill-behaved men getting their comeuppance at the hands of some aggrieved women, nor can we deny drawing an analogy with the present day politics.  Plus ça change!  It is so much more fun when the director doesn't shove it down your throat.

The old Dottore Caius (Mr. Graham) gets married to Bardolfo (tenor Samuel White) disguised as Nannetta (soprano Hee So Son) who gets to defy her father's choice and marry the man she loves--Fenton (tenor Philippe L'Esperance). But not until they get to sing a beautiful duet. We have admired Mr. L'Esperance's voice on prior occasions.

The role of Ford was sung by baritone SeokJong Baek who always turns in a fine performance. Soprano Celeste Morales made a fine Alice whilst Meg was sung well by mezzo Elizabeth Harris. Mezzo Michelle Blauman did justice to the role of Mrs. Quickly and bass-baritone Matthias Villwock took the role of Pistola.

The staging was great fun, especially when the huge Falstaff is rolled around the stage with the entire cast prodding him with sticks. If Falstaff isn't fun we feel we've been shut out of something that Verdi and his librettist Arrigo Boito intended. This scene left us grinning from ear to ear.

The evening was perfect, although we could have enjoyed a few more scenes. The time seemed to fly by.

(c) meche kroop

DER ZIGEUNERBARON

Maestro Kynan Johns and cast of Der Zigeunerbaron at Manhattan School of Music

There is still time to get tickets to today’s matinee performance of Johann Strauss, Jr’s Der Zigeunerbaron, otherwise known as The Gypsy Baron. To miss it would be a terrible shame. For some reason we have had a succession of operettas on our “dance card” lately and, the more we see and hear, the more we love this largely neglected art form. In operetta we find gloriously tuneful music, amusing situations, colorful characters, and ultimately the satisfaction that can only be felt after a couple hours of smiling.

We do not have enough superlatives to describe this weekend’s production of Der Zigeunerbaron by the Manhattan School of Music Opera Theater. There wasn’t a single mediocre voice onstage; every singer performed his/her role with fine voice, excellent dramatic instincts, and the kind of gusto that comes only from having fun.  It would be a toss-up between us and them as far as which group was having more fun. We can only say that we had a grin from ear to ear for over two hours and are still smiling

Johann Strauss, Jr.'s music for this 1885 work has enough melodies for the next ten operettas and The Manhattan School of Music Opera Orchestra, under the baton of Maestro Kynan Johns, did complete justice to the wonderful orchestration of these melodies and to the plethora of rhythms found in the Hungarian dances. The overture alone was worth ten times the price of a ticket. What an abundance of themes, both lyrical and energetic, not to mention the waltzes that made us want to get up and dance.

The story is charming but has a serious aspect in that it involves the maltreatment of gypsies by the Austro-Hungarian Empire, which makes it relevant today. The hero Sandor Barinkay (the terrific tenor Philippe L'Esperance) is the son of a deceased land-owning liberal who has spent his youth as an adventurer and has just returned to find his father's land occupied by a swamp, a ruined castle, a pig farmer (the hilarious Jose Maldonado), and a gypsy encampment.

The gypsy woman Czipra (marvelous mezzo-soprano Yunlei Xie) has a beautiful daughter Saffi (winning soprano Angela Joy Lamb) who has a crush on Sandor but he is contracted to marry Arsena (vibrant coloratura Yujia Chen) the also beautiful daughter of the former swineherd who has become the Prince of Pigs, a man who is indeed larger than life.

But Arsena rejects Sandor out of love for Ottokar (fine tenor Michael St. Peter) who is the son of her governess Mirabelle (substantial mezzo Lisa Barone) who discovers her long lost husband Count Carnero (baritone William Huyler, who created a marvelously pompous character--Deputy Chairman of the Privy Commission for Morality) after 25 years.

It's unusual for the guy to get the girl in Act I, but of course there are complications--buried treasure, a war with Serbia, a violation of the laws of morality, etc, What would opera be without such complications!

As the recruiting officer of the Hussars Count Homonay, baritone Christian Thurston sang with fine tone and style and was the deus ex machina that restores order.

Bass-baritone Andrew Henry made a virile Pali, leader of the gypsies.

Chorus Master Miriam Charney made sure that the chorus was as high in quality as the principals. Don't miss the send-up of Il Trovatore's "Anvil Chorus "!

There were so many fine moments too numerous to mention but as a lover of duets we confess to be blown away by the Act II duet between Czipra and Saffi, which turned into a trio. Also lovely was the duet betwen Arsena and Mirabella.

It is interesting that Ignaz Schnitzer, on request by the composer, based his libretto on the romantic novel Saffi by Hungarian novelist Mor Jokai. The libretto was in German and everyone's German diction was superb, thanks largely to German Diction Coach Mariann Barrett. We loved that it was sung in German with dialogue in English which was mostly clear, thanks to Robert Blumenfeld.

Linda Brovsky's direction was admirable and so was Sean McKnight's choreography. Elizabeth Hope Clancy designed the most splendiferous costumes. The set by Donald Eastman included a gypsy wagon in front of which Czipra did her fortunetelling by means of cards and palmistry.  Dave Bova's wigs appeared attractive and authentic.

It is difficult to believe that the singers are all candidates for the degree of Master of Music. Everything about the production was at a professional level. This is something we always expect to find at Manhattan School of Music but those new to the institution will be pleasantly surprised.

(c) meche kroop

MOZART'S FINAL OPERATIC OFFERING

Yeon Jung Lee and Marie-Gabrielle Arco (photo by Carol Rosegg)

La Clemenza di Tito is a rather static offering, hastily written by Mozart in 1791, as a commission to celebrate Leopold II's coronation as King of Bohemia.  This would explain why the eponymous Tito is portrayed as a marvelous ruler, beloved by his people, and possessed of all kinds of admirable qualities.  

Such a hero is not terribly interesting so we are fortunate that he is surrounded by all kinds of interesting characters. Librettist Caterino Mazzola adapted the story from a libretto by Metastasio. It must have been appealing because about 40 composers set the story before Mozart got his hands on it.

In a stunning production at the Manhattan School of Music, a brilliant cast of women brought these characters to vivid life. The direction by Dona D. Vaughn kept the action moving along and brought a great deal of intensity to the interaction of the characters, such that we "got" this opera for the first time.

Tito, as fine a character as he is, is not a lucky man. Beatrice Queen of Judea, his first love, is not Roman and he was obliged to give her up. He decides to marry the lovely Servilia, sister to his friend Sesto, but she confesses that her heart has been given to Annio, Sesto's friend.  With great magnanimity, Tito releases her as well. That leaves Vitellia who ain't too happy about being passed over so many times.

The backstory is that Tito's father dethroned Vitellia's father, so she feels entitled to the throne. She wants vengeance on Tito and persuades the lovesick Sesto to assassinate Tito. The plot is uncovered, Sesto is charged and convicted, Vitellia feels remorse and confesses her role as instigator, and the morally superior Tito forgives everyone and takes Vitellia as his consort.  Whew!

Women in pants roles can be difficult to accept when they are roundly shaped and have feminine gestures.  What a surprise to hear two sensational singers who are totally convincing in their roles. Statuesque mezzo-soprano Marie-Gabrielle Arco carried off the part of the lovesick Sesto and we doubt that we will ever hear that role so well acted and sung. 

To show desperate love for a rejecting woman without sounding wimpy is quite an achievement. The colors of the voice were perfectly employed, along with fine phrasing and clear Italian diction.  "Parto, parto", the most frequently sung aria extracted from this opera, was particularly well performed. Not every young singer who calls herself a mezzo has an instrument this richly textured.

The other mezzo-soprano was equally convincing. Alanna Fraize fulfilled all the demands of the role of Annio. She used her lovely voice well and portrayed a likeable character who is quite the optimist. He is reluctantly willing to give up his beloved Servilia when he believes she will be changed from his lover to his Empress.  His duet with her is a heartbreaking one--"Ah, perdona al primo affetto". The fact that we just wrote "he" would seem to highlight just how convincing SHE was! Her solo "Torna di Tito a lato" was absolutely thrilling.

Both sopranos in the cast were similarly outstanding.  In the role of the seductive and manipulative Vitellia, Yeon Jung Lee emphasized the strong core of her instrument to convey strength of will. At the end of the opera, Vitellia undergoes a change of character and Ms. Lee's strength of will is colored with remorse in her show-stopping aria "Non più di fiori".

As Servilia, Jianing Zhang sang with a pleasing tone. We particularly enjoyed her aria "S'altro che lagrime" as she tries to persuade Vitellia to take action to save Sesto, who has demonstrated his love for Vitellia by not betraying her role in the plot against Tito.

Although working against time, Mozart's magic managed to fill the opera with so many marvelous arias, duets, and ensembles that one could not keep track of them all.

The role of Publio was well sung by Liang Zhao and Wooyoung Yoon performed the role of the magnanimous Tito.

The chorus, directed by Miriam Charney was outstanding in their diction, as usual.

Under the baton of George Manahan, the Manhattan School of Music Opera Orchestra did a swell job. The overture did not anticipate the themes of the opera but sounded like the first movement of a symphony.  Special props to clarinetist Narek Arutyunyan for the solos.

The production itself was an eye-catching one. The costuming by Tracy Dorman was simply gorgeous and resembled our fantasies of Ancient Rome. The women of the chorus wore long floaty garments while Servilia was appropriately gowned in white with Vitellia in royal purple. The men were elaborately garbed with exactly what one might see in an epic film. Shins were guarded and spears were carried. But nary a chariot in sight!

Authentic looking wigs were designed by Dave Bova and J. Jared Janas.

Erhard Rom's set design was simple but effective--stone walls, Corinthian columns, a marble throne.  All was well lit by Tyler Micoleau who managed to suggest the flames of Rome burning.

It's a wonderful experience to acquire affection for an opera one had previously dismissed.  For this we credit Ms. Vaughn's direction and the superlative singing and playing. If only every opera going experience were this mind-changing!

(c) meche kroop

Addendum:  After three Mozart events in two days, we still wanted more! Like champagne, perhaps you can have too much Mozart but you can never get enough. We returned to hear the other cast in La Clemenza di Tito at Manhattan School of Music. Mezzo-soprano Hongni Wu, while not as physically imposing as Ms. Arco, sang the role of Sesto with gorgeous tone and impressive musicality, as well as dramatic intensity. Soprano Abigail Shapiro was outstanding as the fickle Vitellia and showed all the colors of the vocal rainbow in her final aria "Non più di fiori".  Tenor Philippe d'Esperance made a superb Tito--confident and affecting in his onstage presence and exhibiting a gorgeous tone. We are so glad we returned.  Whichever cast you heard, we are sure you had a thrilling experience.

GALLIC GLORY AT MSM

Bryn Holdsworth as Andromède

Yeon Jung Lee as Le Feu and Amy Yarham as L'Enfant

It was a night of sheer delight spent with Manhattan School of Music Opera Theater. Credit for this extraordinary success must be attributed to the clever direction of renowned James Robinson, who told the tales with originality that was still true to the origins of the two works; to the beautifully balanced sound of the conservatory's orchestra under the baton of Pierre Vallet; and, above all, to the superb singing and acting of the young artists, mainly graduate level students.

The wisely chosen program comprised two French works of note, the first of which, Jacques Ibert's 1924 Persée et Andromède, has never before been performed in the United States, and the second of which, Maurice Ravel's 1925 L'Enfant et les Sortilèges, we have enjoyed on several prior occasions.

Ibert's librettist "Nino" (a pen name for his brother-in-law Michel Veber) turned the tale of Perseus' rescue of Andromeda on its head. In the myth, she has been chained to a rock as a sacrifice (long story!) and dreams of being rescued from the monster Cathos by a great hero.  Perseus arrives on a winged horse (Pegasus), slays the monster, and carries her off to live happily ever after (sort of).

In Nino's libretto, Perseus is so arrogant when he kills Cathos that Andromeda realizes that she has loved the monster all along and declines to leave with Perseus. Pining over Cathos, her grief brings him back to life as a handsome prince.

But wait! Mr. Robinson's concept is that this all takes place in a French museum with a reproduction of Cesari's 1596 painting of the legend occupying pride of place, flanked by supposed studies for the work. The museum guard must ride herd on a group of uniformed schoolgirls who get too close to the velvet rope and a mother with her two obstreperous children.

A beautiful redhead enters and lies writhing on a bench as she dreams of, what else, a romantic encounter. Soprano Bryn Holdsworth, whom we have written about before, sang with terrific tone and acted with conviction. She even convinced us that she was a natural redhead, so well did she embody her character.  And that's acting! It was a stellar performance, marked by some fine French diction, coached by Bénédicte Jourdois.

The superbly coached schoolgirls acted as Greek chorus, commenting on and giggling over the sleeping Andromeda, just as schoolgirls would. What an inspired concept! Chorus Master Daniela Candillari must have worked very hard to achieve this success.

As the museum guard, bass Hidenori Inoue, was peevish but far from a monster. He serenaded Andromeda with full round tone and tried to ease her boredom with stories and symbolic chess games.

Tenor Taehwan Ku made a humorously arrogant Perseus, waving a silk scarf with an image of Medusa imprinted, in place of the Gorgon's head. The "monster" was not intimidated.

Allen Moyer's set was a fine recreation of a museum while Paul Palazzo's lighting contributed a great deal, adding glowing warmth to the arrival of Perseus. James Schuette's costumes were consistently mid-20th c. and Tom Watson's hair and makeup design was apt.

And oh, that music! Much of it was impressionistic and shimmered with painterly colors, sounding just right for the setting. That made the climactic moment of crescendo all that more affecting. We were curious about the placement of the harps off to one side, and the percussion off to the other. Whatever the reason, it sounded sensational.

Ravel's charming work L'Enfant et Les Sortilèges started life as a ballet with a book by Colette; but this baby had a decade long gestation, finally achieving the stage in Monte Carlo in 1925. It is a favorite of music conservatories since it employs a large cast. It tells the tale of a naughty boy who treats people, animals, and furniture with equal contempt.

When the aforementioned furniture comes to life and turns against him, and the animals speak to him of their suffering, he learns compassion. It is a wonderful lesson for children, but also for adults. Behavior has consequences!

As the eponymous child, Australian mezzo-soprano Amy Yarham sang with beautiful inflected phrasing and easily understood French; moreover she created a most believable little boy bored with his homework, throwing a tantrum of destruction to retaliate against his mother.

The entire cast was excellent and we hesitate to single out only a few but we were struck by the precise coloratura of soprano Yeon Jung Lee who created a lot of heat with her red-sequined gown as well as her singing.

The audience loved the pair of fighting cats--mezzo Rachel Stewart and Christopher Stockslager and the linguistic hijinks of Emma Mansell's Chinese Cup and Gregory Giovine's Teapot.

We have always enjoyed Noragh Devlin who enacted a matronly looking mother, in high mid-20th c. style.  And Michael Gracco's Grandfather Clock created a striking image.

 Again, the sets and costumes were terrific.

Ravel's music for this work is highly eclectic and benefits enormously from a most colorful orchestration. The MSM Orchestra captured every nuance.

(c) meche kroop

DANGEROUS LIAISONS

Brittany Nickell, Abigail Shapiro, Timothy Murray, and Anna Dugan (photo by Carol Rosegg)

What an ambitious task was taken on by the Manhattan School of Music Opera Theater; we are happy to report that Conrad Susa's opera Dangerous Liaisons was given a terrific production by their young singers and their artistic team. It was sheer theatrical magic to convert an epistolary novel, written by Pierre Choderlos de Laclos in 1782--and to make it visually and dramatically interesting.

We have not read it but we well recall the 1988 movie which we have seen more than once. The scandalous tale of dissolute pre-Revolution France also inspired several stage adaptations, the most notable being that by Christopher Hampton, several films, and a ballet which we wish we had seen.

In 1992, the San Francisco Opera gave the commission to Conrad Susa and the opera was presented with Thomas Hampson as Valmont, Renee Fleming as Madame de Tourvel, and Frederica von Stade as Madame de Merteuil. It has been rarely produced since then but was seen in New York about seven years ago, when DiCapo Opera gave it a production that critics found static and boring. This production was anything but static and boring.

The story is a cynical one, the tale of a malicious pair of aristocrats who get their jollies from seducing and manipulating others. We are told nothing of the background of Vicomte de Valmont to explain his need to deflower virgins and seduce married women.  As far as his "friend with benefits",  Madame de Merteuil, our only clue is that she feels shortchanged in her role as a woman.  She protests that men get what they want while women take what they can get.

Soprano Anna Dugan is splendid in this role, as is her counterpart baritone Timothy Murray. They managed to hide their sinister motives behind a veneer of courtly behavior, plotting under the watchful gaze of their fellow aristocrats. The opera opens at the grand estate of Madame de Rosemonde outside Paris. Mezzo Noragh Devlin sang and acted this role to perfection. She loves her nephew Valmont but suspects he is there more to do mischief than to see her.

Valmont is preoccupied by the seduction of a pious married woman Madame de Tourvel, convincingly played by soprano Abigail Shapiro. However, he is persuaded to do Merteuil's bidding by the promise of sexual favors.

Merteuil wants revenge against a lover who discarded her by getting Valmont to deflower the man's intended bride, the 15-year-old Cécile de Volanges, fresh out of a convent, and marvelously portrayed by soprano Janet Todd.

Meanwhile, Cécile has fallen in love with her harp instructor, the Chevalier de Danceny, convincingly played by Kiwi tenor Oliver Sewell. Her mother Madame de Volanges (the fine soprano Brittany Nickell) must break up this romance because Danceny is a commoner and the intended husband is a well to do aristocrat. She is worried about the wrong fox in this hen house!

Merteuil pretends to be Cécile's friend and confidant but betrays her and takes Danceny as her lover. Valmont rapes Cécile under the guise of instructing her in the art of love, and simulates friendship for Danceny.

Madame de Tourvel struggles against her urges but, religious woman that she is, sees the possibility of redeeming Valmont and he plays along until she weakens. He then cruelly dumps her under the tutelage of Merteuil who writes his lines for him. "It is not my fault", he keeps repeating, sounding every bit like our antique MacIntosh Blueberry when it crashed.

We have given enough spoilers but you can imagine how unfortunate the ending will be for all concerned.

Dona D. Vaughn's direction could not have been any better. It is too bad that DiCapo's production was perceived as static. This production was anything but. Erhard Rom's set comprised decorated vertical panels that slid from side to side, creating a lavish drawing room, various bedrooms, a woodland walk, and a convent. Several scenes took place side by side.  For example, Merteuil might be writing a letter at her desk on one side with Valmont reading it aloud in his own room on the other side.

Costume designer Tracy Dorman outdid herself as one can see in the above photo. Each design revealed something about the character and the color palette matched the season of the year in which the act took place. The overall effect, complimented by Dave Bova's wig and makeup design, achieved verisimilitude.

Since this is an opera, we must discuss the music. Frankly, Susa's music did nothing for us; but one must take our opinion with the following grain of salt. We rarely enjoy late 20th c. music. Susa's music is mostly tonal but there was no beauty in it; there was power and discordancy but it all sounded the same.

The libretto by Philip Littell (who never wrote an opera libretto before) comprised dialogue in rhymed couplets (good) but came across as doggerel (bad). The recitativi supporting the dialogue were jagged and unmusical. There were plenty coloratura vocalises but they seemed to be randomly inserted without characterological justification.

Perhaps the English language does not inspire beautiful phrases of music.  As a matter of fact, we conferred with our opera-loving companion during intermission regarding who might have created a better opera from this story. It should have been in French, inasmuch as the story is so quintessentially Gallic.  Gounod?  Massenet?

The problem with the vocal line was that the tessitura was uncomfortably high.  The singers handled it beautifully but it is not the most attractive range to listen to for two hours. It might appeal to those who enjoyed Thomas Ades' Tempest, which we did not.

Interestingly, the English diction was far better than expected, credit going to a lot of hard work on the part of the singers and Diction Coach Kathryn LaBouff who made sure every vicious word counted. Happily, there were surtitles in case one missed something.

Valmont and Merteuil each had a sort of aria, or rather a monologue, in which they explained something about themselves.  But the best parts musically were the trios and duets in which the various voices balanced beautifully.

George Manahan led the orchestra through a reduction of Susa's score created by composer-arranger Randol Bass. We can only imagine how this dense and difficult music must have sounded before it was reduced.

The final scene made use of a wonderful chorus, under the direction of Miriam Charney. Brittany Bellacosa portrayed Emilie, Michael Gracco played Monsieur Bertrand, and servants were played by Amy Yarham, Christian Thurston, and Ashley Alden. Father Anselm was Robert Orbach.

This same superb cast will perform the Sunday matinée and a different cast will perform Friday evening.  Having heard some of the Friday night cast at the opera preview, let us reassure you that their vocal and dramatic skills are just as fine.

(c) meche kroop

MSM MAKES MAGIC WITH MOZART

Jana McIntyre, Christopher S. Lilley, and Lisa Barone

Paull-Anthony Keightley

There was a great deal of fun to be had at Manhattan School of Music last night when Mozart's opera Die Zauberflöte (actually a singspiel) was presented with an excellent cast, featuring star-making turns by bass-baritone Paull-Anthony Keightley as Papageno, one of Planet Opera's most endearing characters, and soprano Jana McIntyre as Queen of the Night.  We have seen Mr. Keightley's Papageno before at New York Opera Exchange and it would be fair to say that he owns the role. As adept at comic timing as he is talented at singing, his shtick kept the audience in stitches.

Ms. McIntyre is new to us but we definitely want to hear more of this compelling coloratura whose vocal fireworks were marked by accuracy and artistry. The rapid-fire embellishments came across without any slurring; every note was well articulated.

As Prince Tamino, tenor Christopher S. Lilley sang with a plush tone and enviable legato; he never pushed for his top notes. His romantic partner, Princess Pamina, was given a fine portrayal by Addie Hamilton who has a lovely sweet soprano; she articulated the embellishments nicely.

As Sarastro, bass Shi Li presented a solid tone with depth of coloring. We only wished that the lines he spoke in English were as clear as the German that he sang. As The Speaker, bass Scott Russell left nothing to be desired.

We always love the Three Ladies as they argue over who gets to stay behind and watch over the unconscious Prince. Last night, sopranos Alaysha Fox and Kelsey Fredriksen and mezzo Lisa Barone were superb and their trio was exceptional.

We were also quite taken with the Three Spirits, here portrayed by EphiGenia Kastanas, Crystal Glenn and Hannah Dishman as three giggly prep school boys. Their trio is marked by gorgeous harmonies.

As the evil head servant Monostatos, K'idar Miller captured both the malice and the humor.  His face-off with Papagena was hilarious.

Soprano Carina DiGianfilippo made a perky Papagena without making as much out of the role as one would hope. Her speaking voice when she approaches Papageno pretending to be an old lady was nothing if not irritating and sounded more like a screech owl than an old woman.

The chorus was exemplary and much credit goes to Chorus Master Miriam Charney.  We'd also like to give props to Diction Coach Marianne Barrett. When we don't need to read the titles we know whom to credit!

The production was an adventure in and of itself and required explanation by Director Jay Lesenger in the program. It was helpful to learn in the pre-performance lecture that the audiences of 1791 did not expect their "magical operas" to make sense.--helpful because we have been trying to make sense of this opera since the first time we saw it.  So, the fact that Mr. Lesenger's production did not make much sense did not interfere with our enjoyment.

We appreciated the additional English dialogue however. We were also tickled by the notion that Pamina and Papageno were half-siblings. Moreover, that the Queen of the Night was enraged because her late husband turned his power over to Sarastro, which fueled her wish for revenge.  And we always thought she was a good woman trying to protect her daughter!

There were directorial choices that, while fun, seemed to make even less sense than other productions. The production team went for a 1960's look with a touch of sci-fi thrown in.  The monster slain by the Three Ladies was a robot. The priests in the temple were wearing identical suits and ties, sitting around a table in a board room, leaving us to wonder how corporate America could be a symbol for Reason, Nature and Wisdom!

Within the parameters of the setting, the costumes by B. G. Fitzgerald were apt with special compliments for the black and silver creation for the Queen of the Night. The simple set by Steven Capone and Ron Kadri comprised an eye-catching 7-pointed gold star and large discs in gold and silver which were raised and lowered to symbolize the ascendancy of lightness (wisdom) over darkness.

George Manahan did his customary excellent work leading the MSM Orchestra. Mozart's profusion of melodies is notable for limning each character. He wrote this work as a favor for his friend the impressario and singer Emanuel Schikaneder who wrote the libretto and played the role of Papageno. We have no way of knowing how he played it but we'll happily settle for Mr. Keightley.

Should you wish to share the joy, the same cast will perform the Sunday matinée and on Friday night a different cast will take over. We were fortunate enough to hear a few members of that cast perform during the pre-performance lecture and found tenor Oliver Sewell to be a fine Tamino; soprano Eunmi Park did a splendid job of revealing the Queen of the Night's subtle changes of intention.

And if you can't snag a ticket we urge you to watch Ingmar Bergman's magical film of Die Zauberflöte, filmed in 1975.

(c) meche kroop

A MACBETH OF ANOTHER COLOR

The brilliant cast of Ernest Bloch's Macbeth at Manhattan School of Music

The opening scene of the opera presented the three witches on a windswept heath in Scotland.  The eerie music gives aural representation to the visual image of three very scary creatures cavorting on a battlefield of fallen soldiers--plucking out eyes, cutting off hands and drinking blood.  World class director Dona D. Vaughn has made sure that we get the message right from the start.  Wars are born and bred in hell and only hellish creatures reap the "benefits".

The witches were fantastically costumed by Daniel James Cole with Hair and Makeup Designer Anne Ford-Coates' contributions; branches sprouted from their heads and the herky-jerky movements of their fingers became twiglike.  The three singers portraying the witches gave evidence of intense instruction in movement as well as voice; they were soprano Anna Dugan, mezzo Minyoung Kim, and mezzo Michelle Siemens.  Their fine work established the mood for a riveting evening of musical drama.

Ernest Bloch's Macbeth premiered in Paris at the Opéra-Comique in 1910 with a libretto by Edmond Fleg, who adapted it from the Shakespeare play.  It hews fairly closely to the original play with liberties taken for musical and dramatic purposes. Comparisons with Verdi's opera are unnecessary.  This is a very different work and stands on its own as an underappreciated masterpiece.  Thankfully, it was sung in the original French--for the first time in the USA. The phrasing and inflection of the language and music were admirably consonant; we would not wish to hear this opera in English!

There are no longueurs here; the work moved along at a rapid pace sustained by the propulsive music which seems to serve the psychology of the characters.  By turns mysterious, alarming, seductive, cacophonous, or introspective it gave us insight into the thoughts and perceptions of the characters.  Fortunately, the French conductor Laurent Pillot was on hand to guide the fine players of the Manhattan School of Music Orchestra.  The winds were particularly on point.  The textures and harmonies of Bloch's music are compelling.  At times we heard echoes of Debussy; at other times we thought of Richard Strauss. The interludes between scenes were astonishingly beautiful.

The singing was superb all around with French diction so accurate that we were actually able to understand the words.  In the titular role we were impressed by baritone Robert Mellon whose full-throated voice sailed over the orchestra.  He portrayed the conflicted Thane with subtle nuance and scored high in believability. His hallucinatory aria when he sees the dagger was masterful.

As he triumphed over his remorse and shame, Lady Macbeth, originally psychopathic in her lack of guilt, took on the mantle of remorse. Soprano Alaysha Fox sang the role well and was convincing both in her seductiveness in Act I and her aria in Act III ("Out out damned spot").

As King Duncan, tenor Elliott Paige (well remembered from his starring role in Orlando Paladino last year) was as effective in a serious role as he was in a comedic one.  We loved the way his character's benevolence and goodwill were reflected in the orchestral accompaniment.  Sadly, he got killed off in Act I!

As his son Malcolm, the fine tenor Carlton Moe was crowned at the end with great rejoicing from the excellent chorus.  Kudos to Miriam Charney Chorus Master!

Macduff, leader of the opposition, was sung by the excellent baritone Xiaomeng Zhang who lived up to the promise made by his earlier appearances.  As his poor wife, soprano Alexis Aimé made a fine appearance with mezzo Kendra Broom convincing as her cocky son.  It was heartrending to witness their senseless murder.

All other roles were well sung, including James Ludlam as Banquo, Xiaoming Tian as a herald, and Joshua Arky as an old man.  Most of the singers were graduate level students working on their Masters of Music but Mr. Mellon is a graduate and now a guest artist.

It is no small feat to get everything working together and last night was a perfect example of musicianship and stagecraft joining forces to produce a work that kept us riveted for a few hours.  If the Metropolitan Opera could put together a production like this in which the intentions of the composer and librettist were so honored, we might still be a subscriber.

There is a matinee performance on Sunday.  A word to the wise....

© meche kroop

LOVE AND OTHER MISTAKES

Elena (Anna Farysej)

New York is blessed with three fine music schools, each of which provides splendid opportunities for opera lovers.  The Manhattan School of Music Opera Theater, under the artistic direction of Dona D. Vaughn, presented a fine program of scenes from four very different operas.  The program demonstrated the depth and breadth of talent in every voice range and several different styles; it will be repeated Sunday at 2:30.

This collection of gems was entitled "Love and Other Mistakes"; but believe us when we tell you that the only mistake would be missing it.  The opening scene represented serious romantic courtship with Cupid himself putting in an appearance.  Gluck is perhaps better known for his Orfeo but, if this scene is representative of his Paride ed Elena, the latter deserves a full production.  It is a scene of Paris' courtship of the beautiful Helen and soprano Anna Farysej had the physical and vocal beauty for the role.  Beautifully gowned in apricot and gold, her bright soprano was perfect for the woman being earnestly courted by Paris, the excellent mezzo Elsa Quéron.  Cupid was well sung by Aine Hakamatsuka.  Piano and harpsichord were joined by cellist Patrick Hopkins.

The second scene was Hindemith's Sancta Susanna, a strange piece about religious devotion corrupted by profane lust.  The libretto by August Stramm was as disturbing as the music.  The set consisted of a red drape with a large gold Christ on the Cross.  Mezzo Helena Brown with her stunningly large round sound was Sister Klementia, witness to the decompensation of Susanna, well sung by soprano Kerstin Bauer.  There are no arias and no melodies but the music is held together by a motif repeated in different keys.

Papa Buonafede (Tobias Klassen) tied in knots

The third scene was from Joseph Haydn's Il Mondo della luna and the libretto by Carlo Goldoni was right out of the commedia del'arte tradition in which wily servants outwit an old man who is an obstacle to young love.  In this case, a father has two daughters who wish to marry; the trickery involved a sleeping potion and papa's being convinced that he was visiting the moon in which everyone spoke a different language and observed different customs, including of course unchaperoned visits between the daughters and their lovers.  There were sight gags galore, wonderful tuneful music, colorful sets and costumes.  The excellent singers were Tobias Klassen as Papa Buonafede, Stephen Steffens and Lyndon England as the suitors, Julia Mendelsohn and Gyu Yeo Shim as the daughters, and Christopher Lilley and Yingying Liu as the wily servants who posed as King and Queen bearing toilet plungers and toilet brushes as scepters.  You get the picture.

The final scene was Three Sisters who are not Sisters--Ned Rorem's setting of a text by Gertrude Stein.  The story had something to do with a murder game and was totally incomprehensible but made into quite a lark by clever staging.  Every singer wore the same costume of a neon pink wig, a moustache, a striped tee-shirt and jeans with suspenders.  The set comprised a wall with five doors through which the five cast members and also the chorus emerged and disappeared, bearing guns and knives.  Pure nonsense but fun to watch since the staging by Richard Gammon was so effective.  Mr. Gammon used a great deal of body movement in all of the works and if the singers did not study dance they gave the impression that they had.  Hannah DeBlock, Brittany Nickell, Yajie Chen, Andrew Zimmermann and Devon Morin were the murderers/victims.  Who could say?

Marcello Cormio conducted the evening, Carolyn Mraz designed the colorful sets and Barbara Samuels designed the effective lighting.  The dazzling costumes were designed by Jonathan Knipscher.  The audience had a swell time and so will you!

© meche kroop