MATCHMAKER MATCHMAKER MAKE ME A MATCH

 PRINCIPALS ALEXANDRA RAZSKAZOFF, MARCUS DE LOACH, AND JOHN BELLEMER

(PHOTO BY GUSTAVO MIRABILE)

Teatro Grattacielo is known for producing realismo operas that one is unlikely to see elsewhere. We have lost count of the the number of worthy works they have brought to our attention. So many of them have been heavyweight tragedies but yesterday's production of Mascagni's L'Amico Fritz was just what we needed after the prior night's tragic impact. For this we thank General Director and Artistic Director Stefanos Koroneos.

Cavalleria Rusticana is Mascagni's masterwork and we never ever turn down a chance to see it.  We recall seeing a rather odd production of his rather odd opera Iris at Bard College's Summer Festival a few years ago. But this may be our first exposure to the simple story of L'Amico Fritz.  Of course, any opera lover would have heard the "Cherry Duet" performed as a set piece.

This is a slight work but the simple story is easily relatable. A confirmed bachelor is tricked into marriage by his well meaning friend. In this case, the local rabbi David (baritone Marcus DeLoach) loves to get people married off but Fritz, a local landowner,(John Bellemer) is a confirmed bachelor. The nubile daughter (Alexandra Razskazoff) of one of his tenant farmers seems like a good match and David figures out a way to get them together. Bravi tutti!  A happy ending!

The outstanding features of the evening were the voices and the musicianship of the Queens Symphony Orchestra, conducted by James Bagwell. If the other two principal roles had not been so well sung, we would have said that Ms. Razskazoff ran away with the show. What made her performance so outstanding was not just her sweet finely produced soprano voice but her acting. She completely embodied a shy young country girl trying to deal with a crush on a man of high social status.

Due to the lack of a firm directorial hand by Mr. Koroneos and Malena Dayen, the cast pretty much stood around woodenly with nothing to do. Indeed it was billed as "semi-staged" but the fact that the theater has wrap around balconies that were put to use indicates that there was an attempt at story telling. The absence of set was unfortunate; a mere stepladder for Suzel to climb to pick cherries would have been welcome; we supplied one in our mind's eye. There was a huge chandelier that was eye catching but did not contribute anything.

Mr. Bellemer came alive dramatically as the evening progressed and Mr. DeLoach did his best but they seemed to be floundering onstage with nothing to do. We understand a concert performance in which singers use music stands but this was not the case. It would have been simple to have a couple pieces of furniture or props.

An attempt to involve multi-media seemed to us to be a complete failure. We will not mention the names of those involved but the projections were nothing if not distracting. We would not have minded a still shot in the background of a farm or a living room but the kinetic falling ellipses (cherry blossoms maybe) distracted from the singing. Even worse were the closeups of the singers' faces as they sang.

Costuming by Theresa Miles was generic but serviceable. Since the story is not particular to epoch or locale, it was fine. Except for Beppe, a gypsy of indeterminate gender whose costume was just weird.  Nonetheless, Mariya Kaganskaya did a lovely job with her aria.

There was a servant (Kiena Williams) and a couple friends (David Santiago and Rick Agster) who mainly just stood around and a chorus who made a nice vocal contribution.

Mr. Bagwell drew a lovely performance from the orchestra and we just loved the melodic arias and the aforementioned duet.

In sum, it was a delightful evening of music that only needed some directorial ideas and a few props to make it work as drama.

© meche kroop

A BIG BITE OF THE APPLE

Ed Parks as Steve Jobs with Santa Fe Opera Chorus

How ironic!  We are sitting here writing about The R(evolution) of Steve Jobs which we saw last night at the Santa Fe Opera; and we are writing on our MacBook because our iMac is home in New York City. Our iPhone is on the table charging even as we write. Our iPad is languishing in our carry-on bag, waiting to entertain us on our trip home. How can one take the measure of a man who has changed our lives so significantly that we cannot imagine surviving without our devices!

Perhaps all we can do to honor such a sea-change is to write about it, play about it, and sing about it. What has been accomplished by the production team for this opera merits all the laudatory words that have been written. What shall we add to the accolades?

Regular readers of this blog will recall how often we denigrate contemporary compositions with their tuneless and abstract music, their wordy unpoetic libretti, and stories that do not lend themselves to musical treatment. None of that is true here. Instead of a story about politics we have a portrait of a fascinatingly inconsistent and puzzling genius who made technology musical, an instrument anyone can play.

In place of sounds masquerading as music, we have composer Mason Bates' eclectic score that seamlessly melds of-the-moment electronics with traditional orchestral music in a manner that honors both genres. Even acoustic guitar, so much a part of Steve Jobs' world, puts in an appearance.

Mark Campbell's libretto is punchy like the English language with short rhythmic phrases, and reminds one of the effective work done for Broadway musicals. It is such an acoustic pleasure to hear words and music acting in harmony, instead of at cross purposes.

In baritone Ed Parks, the opera has found the perfect embodiment of the complicated hero. Every shading of mood was conveyed and we wound up feeling sympathy for this difficult character--a genius troubled by perfectionism, obsessionality, emotional isolation, and narcissism.

As his spiritual guide Kobun, bass Wei Wu created a marvelous character filled with pithy advice delivered with humor. Mr. Mason gave him a splendid aria that would make a superb audition piece for the bass fach. As performed by Mr. Wu, we could understand how he was able to get through to the stubborn Jobs.

The other person who was able to get through to him was his wife Laurene, beautifully sung by mezzo-soprano Sasha Cooke. Her lengthy eulogy at the end of the opera was filled with insight and sung to some of Mr. Mason's most gorgeous music.

Garret Sorenson employed his tenor most effectively in the role of Jobs' early partner Steve Wozniak. The scene in which they end their partnership was emotionally devastating, as were the two scenes in which Jobs abandons his girlfriend Chrisann Brennan and denies fathering their chid. Apprentice Singer Jessica E. Jones conveyed all the pain and shock of rejection and did so with fine vocal technique.

Apprentice Singer Mariya Kaganskaya used her fine mezzo instrument in the role of a teacher at Reed College, explaining the significance of the "enso", a calligraphic character that inspired Jobs toward simplicity. For us, it seemed to reflect the concept of coming full circle as exemplified by the opera beginning and ending with a scene from Jobs' childhood, a scene in which his father (former Apprentice baritone Kelly Markgraf) initiates the young Jobs (Joshua Sorenson) into the world of making things.

Mr. Mason's score (conducted by Maestro Michael Christie) is eclectic and eminently listenable. Each character was endowed with his/her own sound world. There were passages of minimalism reminiscent of Steve Reich and Phillip Glass, cheek by jowl with lush and lavishly orchestrated passages; so thoroughly integrated were the various elements that nothing seemed out of place. Acoustic guitar, electronic sounds, and instruments of the Far East were woven in and out at appropriate places.

In what Wagner might have called a gesamtkunstwerk, the sets and costumes were all of a piece with the music and libretto. Victoria "Vita" Tzykun filled the stage with tall rectangular pillars that were moved around to create various effects, with the help of projections by 59 Productions. Some scenes seemed to take place inside a computer with projections of a mother board. Others showed the home page of the iPhone.

We loved the scene in which he and Chrisann are dropping acid in an apple orchard (the only reference to "apple" in the opera). Jobs hears the music inherent in nature and is inspired by the idea that a computer can be like an instrument that one plays. This thought served to justify the use of computer sounds in Mason's music and to justify writing music about someone who appears more technological than artistic.  We left with the idea that there is artistry everywhere and that Ms. Tzykun set design showed the artistic side of technology just as Jobs' made technology artistic--witness the fact that we have never been able to discard our first computer--a 1999 "clamshell", so simple and elegant that it overcame our Luddite tendencies.

Director Kevin Newbury kept the action moving along, with the excellent Apprentice Singers in charge of moving the sets around, in addition to performing in such exemplary fashion as the chorus, under the direction of Susanne Sheston.

Paul Carey's costumes were appropriate to time and place. Responsible for Sound Design were Rick Jacobsohn and Brian Loach. What this means in practice is that the voices were subtly amplified; we say "subtly" because the amplification was barely noticeable and the balance between singers and instrumentalists was preserved.

(c) meche kroop

THE RISING STARS OF THE DESERT SKY

Pianist Cody Martin and singers Zachary Owen, Mariya Kaganskaya, Katrina Galka, Alyssa Martin, and Joseph Lattanzi

Tucson is the birthplace and home of Arizona Opera which has been building an audience for opera in Arizona since 1971. Their programming is eclectic and, judging by the performances we heard last night at The National Opera Center, the people of that gorgeous state are getting the highest quality.

For those of us who cherish the future of opera, it was a golden opportunity to hear the rising stars of the desert sky. The recital by Arizona Opera Studio Artists was part of Opera America's Emerging Artist Recital Series. For us personally, it was an opportunity to witness the growth of two lovely ladies we had enjoyed in Santa Fe, as part of their Apprentice Program--and to be introduced to three more singers of whom we hope to hear more.

The overall quality was impressive and it is no wonder that these young artists are receiving awards and filling roles around the country. We were delighted to learn that two of them will be in Santa Fe this summer so we will get to hear them again. The others will be at Glimmerglass and if that venue were more accessible for non-drivers, we would go to hear them as well.

Opening the program were soprano Katrina Galka and mezzo-soprano Alyssa Martin in "Ah, perdona al primo affetto" an ardent love duet from Mozart's La clemenza di Tito. Ms. Galka's soaring soprano was perfect for Servilio and Ms. Martin's performance as Annio had plenty of breadth.

The scene from Mozart's Cosi fan tutte in which Guglielmo seduces Dorabella "Il core vi dono" was so convincingly performed that our mind filled in the set and the plot of the entire opera.  Mezzo-soprano Mariya Kaganskaya was an ambivalent but willing Dorabella, succumbing to the seductive blandishments of a very persuasive Joseph Lattanzi. Both have voices we would describe as creamy-dreamy.

The next few duets were in French, which is far more difficult to sing.  If the diction was not perfect, it was creditable and mostly understandable. We loved the harmonies produced by Ms. Kaganskaya and bass-baritone Zachary Owen in the scene from Massenet's Cendrillon in which Pandolfe tries to comfort his disappointed daughter--"Ma pauvre enfant cherie".

We have never been a fan of Debussy's Pelleas et Melisande but we absolutely adored the love scene "Mes longs cheveux descendent jusqu'au seuil de la tour". The eroticism was as thick as molasses until the angry Golaud appears on the scene. The versatile Ms. Martin was perfect for Melisande and Mr. Lattanzi's legato served him well as the besotted Pelleas. Mr. Owen proved a threatening Golaud. We wondered whether our newborn affection for this opera came from the ardency of the vocal performance or the beautiful pianism of Cody Martin who captured Debussy's shimmering colors. We'd have to say both!

Berlioz' gorgeous melodies and harmonies served to express the glories of la belle nature when Hero (Ms. Galka) and her attendant Ursula (Ms. Kaganskaya) join voices for "Nuit paisible et sereine". This duet from Beatrice et Benedict was balm to the ears and both singers followed the long leisurely line of the phrases most effectively.  It was swoon-worthy.

A return to Italian offered these fine artists an opportunity to dabble in comedy and bel canto. From Donizetti's L'elisir d'amore we heard the wise Adina (Ms. Galka) let the bloviating Dulcamara (Mr. Owen) know that she had enough charm and she didn't need his love potion. Their performances were winning and we got the impression that Mr. Owen is more comfortable in Italian and very effective in comedy. We can just picture him as Don Pasquale!

The final duet was the famous "Dunque io son...tu non m'inganni?" from Rossini's Il barbiere di Siviglia. We always wait for that special moment when the spunky Rosina surprises Figaro with the note for "Lindoro" which she has already written. Ms. Martin seemed just right for Rosina and Mr. Lattanzi showed equivalent flexibility.

Although it was the perfect way to end a grand recital, we were left wanting more. An hour of duets is never enough but we'd rather have quality than quantity so there will be no complaining!

Mr. Martin's accompaniment was superb throughout.

(c) meche kroop

APPRENTICE SCENES FROM SANTA FE OPERA

Mary-Hollis Hundley and Jacquelyn Stucker in a scene from Mozart's Nozze di Figaro  (photo by Bobby Gutierrez)

One of the best musical events taking place in Santa Fe in August takes place right in the gorgeous opera house a short drive north of the center of town.  We are speaking of the Apprentice Scenes, of which there are two evenings.  The first one took place on August 14th and the second one will take place on August 21st.  We always organize our visits to The City Different to include both evenings. It is our chance to hear the stars of tomorrow and we wouldn’t miss it for the world

Under the direction of David Holloway, the Apprentice Program carefully selects emerging talents whose stars are on the rise in the operatic firmament. Many of them are invited back for a second year of training and some of them will appear in subsequent summers in one or more of the five main operas.

The first of the two evenings provided many delights along with exposure to young artists, some of whom are new to us and others whose careers we have been following for the past few years. Some we know from competitions, some from their schools, and some from other programs.

These young artists also serve as members of the chorus or in small roles in the five operas presented over the summer.  But in the Apprentice Scenes, we get to see them in starring roles—as exciting for us as it is for them.  And not just for us, but for the crowd that packs in for the same reason as we do.  As an added bonus, the tickets are incredibly reasonable for such fine entertainment.

Most entertaining of the eight scenes presented was the final one on the program, which left the audience smiling. We long ago lost count of how many times we have seen Mozart’s Nozze di Figaro without ever losing our appreciation and enthusiasm for this divine comedy. In this case, the entire cast sang and acted in such a manner that brought out all of librettist Da Ponte’s humor. 

The scene chosen was the one in which the angry jealous Count and the anxious Countess return to the Countess’ boudoir to expose the hidden Cherubino.  The two sopranos were equally superb with Jacquelyn Stucker portraying the spunky Susanna and Mary Hollis-Hundley creating a lovely and dignified Countess.  As the furious Count, Jorge Espino went from rage to embarrassment to puzzlement. 

Arriving on the scene later were a quartet of characters, each with a different agenda but joined in a delightful dance. Bass-baritone Andrew Simpson made a very funny Antonio. Tenor Stephen Carroll portrayed the slimy Don Basilio; mezzo-soprano Nadia Farad enacted Marcellina with bass James Harrington as Don Bartolo.  

Kyle Long’s direction was delightful, eliciting every ounce of humor from the crazy situation. Maria Noel Nieto’s costumes were beautiful and accurately representative of Mozart’s period.

Similarly superb was the scene from Modest Mussorgsky’s Boris Godunov, effectively directed by Matthew Ozawa, in which Grigori (tenor Andrew Marks Maughn) arrives at an inn close to the Lithuanian border. He is traveling in the company of two monks—Misael (tenor Stephen Martin) and the hilariously drunken Variaan, perfectly portrayed by bass David Leigh. 

Thanks to Russian opera we get great roles for brilliant basses!  We loved the brilliant bass Onay Kose in the role of Nikitch, the illiterate police officer. In a serious work like Boris Godunov, it is particularly welcome to have some comic relief; here, the monks took turns translating the arrest warrant to point the finger of suspicion toward the other.  Mezzo-soprano Mariya Kaganskaya made a fine Innkeeper with a lovely voice and stage presence. Nicole Grebb’s costumes were perfect.

Kathleen Clawson directed the scene from Giuseppi Verdi’s Stiffelio in which the hero confronts his unfaithful wife. We were so pleased to see tenor Cooper Nolan—well remembered from his starring roles at The Manhattan School of Music some years ago—as the enraged eponymous minister.  As his cheating wife, soprano Rebecca Krynski Cox, also remembered from MSM, went through several emotional phases without compromising her fine vocal technique. We liked Phoebe Miller’s authentic costume design  which, along with the wonderful singing, created a fine opener for the evening.

We enjoyed a wonderful trio of tenors in Gioachino Rossini’s Armida—the scene in which the knight Rinaldo (Peter Scott Drackley) must be rescued from the spell of the sorceress of the title. Benjamin Werley sang Ubaldo and the role of Carlo was taken by Adam Bonanni, whose crystal instrument soared. The three voices in harmony created a unique sound. Kyle Lang directed effectively and Jeni O’Malley’s costumes were splendid with Rinaldo lounging in linen and the two rescuers storming in wearing impressive armor.

The sorceress Armida is not present in this scene but in a scene from G. F. Handel’s Alcina, the eponymous sorceress is very much present.  Personified by the beautiful soprano Jacquelyn Stucker, Alcina is a force to be reckoned with as she uses every trick in the book to win the knight Ruggiero away from his beloved Bradamante.  The two mezzo-sopranos were excellent with Kirsten Choi as Bradamante and Briana Hunter giving an equally fine performance as Ruggiero. Director Jordan Fein staged the romantic triangle quite cleverly making use of a swiveling chaise longue.

So we were rather puzzled by Mr. Fein’s clumsy staging of Verdi’s La Traviata. Jailene Torres’ costumes disappointed equally. Violetta (Rebecca Nathanson) is supposed to be in her sickbed at dawn with Annina sitting vigil at her bedside.  But NO!  Violetta enters in a contemporary ball gown with Annina in street clothes.  The undressing made no sense and the collapsing and rising from the floor was not congruent with the libretto or the music.

The scene was abruptly truncated at an awkward place, but not until Alfredo was lying on the floor on top of the dying Violetta!  The staging was so disruptive that it interfered with our appreciation of the singing, although the entrance of Alfredo brought in the arrestingly pure tenor of Galeano Salas, almost making us forget the sins of direction.  We want to hear more of mezzo-soprano Evanna Chiew who sang the role of Annina and sang it well under adverse circumstances.

Those who favor contemporary opera probably enjoyed Matthew Ozawa’s staging of John Adams’ Nixon in China. We didn’t enjoy the opera some years back at the Metropolitan Opera, and didn’t enjoy it any more upon second hearing. Although the instrumental music, reminiscent of Philip Glass’, is interesting, the vocal lines are not. The singers are asked to deal with the difficult diphthongs of English at the very worst part of their range. Furthermore, intellectual sparring does not strike us as the right topic for an opera.  We most enjoyed the trio of Chinese secretaries—Evanna Chiew, Kristen Choi, and Nadia Farad.  If one can have three tenors, why not three mezzos!

The scene from Kismet struck us as silly.  Although we adore Alexander Borodin’s music, the work belongs on the Broadway stage— even with the finely trained operatic voices of Chelsea Davidson, Stephen Carroll, Jorge Espino, and James Harrington. We generally love to hear Broadway musicals performed in an opera house with trained voices, but the libretto here is just not worth Borodin’s music.

(c) meche kroop