ESTER LIBERATRICE

Salvo Vitale and Jessica Gould

(photo by Harold Levine)

March 8, 2026 by Guest Reviewer Joan Greenberg

Ester Liberatrice Del Popolo Ebreo

An Oratorio composed  by Italian Composer Alessandro Stradella, with a libretto by Lelio Orsini (1673)

Let us not bury the lead.  Salon Sanctuary Concerts delivered!

Founded in 2009, its stated mission is to  “present special projects that view history through the prism of music which endeavor to encourage understanding among people of different faiths through the performance of sacred repertoire in houses of worship open to all.”

The world needs more Esters and more wonderful concerts like the one delivered last Sunday at the Museum at Eldridge Street located on the lower East Side of New York City. The audience included adults and children and the sanctuary level was filled to capacity.

The musicians and singers were all stellar…. Not only the principals, but the chorus as well with strong harmonies and effective presentation. We believed that they were all distraught townspeople terrified of looming genocide.

It was a lovely surprise that Stradella’s  treatment of an oft told Purim story felt new and inviting, even though the composition created and the libretto written in the 17th Century.

Presumably because the venue did not have the ability to project supertitles above or adjacent to the stage [or display  “Met Titles” on the back of audience seats]  English translation sheets of the lyrics were available to audience members who were not fluent in Italian. We indeed found the translations by Martin Morell and Jessica Gould extremely  helpful.

Even the building came through.  The acoustics were  music friendly with not a hint of synthetic reverberation or amplification in the air, and the human and non-human musical instruments blended and enhanced each other.  

It should be noted that the museum is housed in the historic Eldridge Street Synagogue, built circa 1887. The building is one of the oldest (if not the oldest) synagogues in the United States. After twenty years and approximately twenty million dollars, it was beautifully restored, to be a religious sanctuary (as opposed to a theatre or an opera house).   We mention this to point out two unique viewing factors:   (i) the musicians (and their beautiful Baroque instruments) were staged front and center at eye level with the audience and immediately below the pulpit; and (ii) except for the balcony and center aisle seats, there were some viewing challenges.  On the other hand, the limited performance space resulted in some creative staging in that heretofore mentioned center aisle, to which some had much better views than others. So, that could be something to try to improve on in the future.

It was a lovely surprise that Stradella treatment of an oft told Purim story felt new and inviting, even though composition created and the libretto written in the 17^th Century.

Whilst the concert clearly felt collaborative, some performers had more screen time, so to speak, which we would like to highlight.

Jessica Gould’s Ester,  through her intensity of voice and emotional actions, brought us along on Ester’s journey from fear, to responsibility, and most critical to her ultimate actions, bravery.  There was something electric watching and hearing her go from frightened to formidable.

We have been fortunate to have experienced the vocal clarity and range  of Mezzo-Soprano Kinneret Ely before. Consistent with her past performances Ms. Ely’s commitment to  character was front and center.  Therefore, we should not have been surprised  with her ability to make us believe, that she was Mardocheo, a prominent male figure in the biblical Book of Ester and capable of thwarting Haman’s evil plot. The character is pivotal in motivating Ester to take the action that makes the story of Ester inspiring….. and (coincidentally?) appropriate during International Women’s Month.

Sonia Tedla  as Speranza Celeste with her agile soprano did indeed give the townspeople heavenly hope.

Paul Max Tipton  as Haman had a thankless role. From the outset one wants to hate him despite his dignified bass-baritone. 

Salvo Vitale  as Assuero, with his deep bass and general appeal made the relationship with Ester somewhat exciting.

We looked forward to Mathew Curran’s  Testo,  perhaps because his beautiful bass nicely summed up the events which just transpired, particularly in Act I.

We will end as we began.   Salon Sanctuary Concerts’ presentation of  Ester Liberatrice Del Popolo Ebreo delivered!

Principals:

*Jessica Gould (Soprano)as Ester [Queen Esther]

Sonia Tedla (Soprano) as Speranza Celeste [Heavenly Hope]

Kinneret Ely (Mezzo-Soprano)as Mardocheo [ Modechai]

Paul Max Tipton (Bass-Baritone)  as Aman [Haman]

Salvo Vitale (Bass) as Assuero   [King Ahasuerus]

Mathew Curran (Bass) as Testo  [Narator]

Chorus:

Elisse Albian

Christina Kay

Dominic Inferrera

Musicians:

Members of the  Camerata Grimani

Ian Jones and Kiyoun Jang on Violin;

Andrea Damiani on Theorbo

Adam Young on Viola da Gamba

Cameron Khan on Harpsichord

© meche kroop

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BRITTEN'S GHOST STORY?

Scene from Little Opera Theater of New York's production of Britten's Owen Wingrave

Encouraged by three recent positive experiences of Benjamin Britten (two productions of Albert Herring and Xeni Tziouvaras' performance of his Charm of Lullabies, we approached a performance of his Owen Wingrave with enthusiasm. We left with disappointment verging on despair. 

Written for television in 1970, Myfanwy's Piper's libretto is an etiolated adaptation of Henry James' eerie ghost story, here made into an anti-war screed masquerading as a family drama. The horror is as absent as the vowels in Ms. Piper's given name. (Even the homosexual hints have been removed, although that did not create a problem in terms of focusing on the hero's determination to resist the military.)

The absence of titles and the unclear diction of many members of the cast obviated a clear understanding of the finer points of the story although the superior acting abilities of the cast got the major points across. 

We have come to think of operas written after the middle of the 20th c. as "plays with music". In this case, the "play" was insufficiently dramatic and the lines were often like lectures, not like dialogue.

The music was unmusical. We didn't expect any gorgeous melodic arias but we were dismayed by the dialogues and especially the monologues which could have told us something about the character "singing" it. (By contrast, the arias heard last night in Massenet's Hérodiade each told us something about the character and his/her situation.)

Maestro Richard Cordova probably enjoyed conducting this challenging score but it was difficult to listen to. No doubt the musicians in the chamber orchestra (orchestration was by David Matthews) played well but we got no pleasure from listening.

The spare set by Josh Smith comprised tables, chairs, and a bed. Nothing more was needed. His lighting design went a long way toward creating an eerie mood that James' story called for.

Lara de Bruijn's costumes were drab and perfectly appropriate to the late 19th c.

Philip Shneidman's direction seemed as static as the story. People stood around or sat. Seeing someone climb a flight of stairs seemed compelling by comparison.

Alex Basco Koch's projections were perhaps the most interesting element of the production, helping to repurpose the simple set from one scene to another. The grand outward appearance of the Paramore ancestral manse was projected above the set and the interior was decorated by projections of portraits revealing the family's military heritage.

Coming from a military family, the hero's refusal to complete his martial education arouses the disgust of his family, his girlfriend, and his ancestral manor. They vilify hime and drive him to his death, which should have been more "ghostly" but wasn't. He is accused of lacking courage and his "intended" insists he demonstrate his courage by sleeping in a room in which a father and son had previously died.

The theme of the tormenting and rejection of the outsider is a theme dear to Britten's heart and baritone Robert Balonek did a fine job of portraying this self-determined young man who refuses to follow the life plan for which he was intended. His diction was clear and, for the most part, understandable.

Similarly, as his military instructor Spencer Coyle, bass Matthew Curran cut a fine figure and made the words clear. Unfortunately, the rest of the cast were only occasionally comprehensible, which may be due partly to the fact that the vocal line was not designed to be understood and the lengthy phrases did not resemble spoken or sung speech. Instead they came across as written text.

We have no criticism of any of the voices. Indeed it is impossible to appreciate a singer's technique with material like this. Fortunately, we have heard and enjoyed their voices under more felicitous circumstances.

What we can say is that the acting was persuasive with soprano Emily Pulley portraying a very rejecting maiden aunt. Presumably, Mrs. Julian is a family hanger-on and soprano Mary Ann Stewart was as fine in the role as mezzo-soprano Katherine Pracht was as her daughter Kate, the one who eggs on Mr. Wingrave to his death. Tenor Bernard Holcomb portrayed Owen Wingate's friend Lechmere.

As the grandfather General Sir Philip Wingrave, tenor Rufus Müller was appropriately nasty, disinheriting his grandson. The only kindly character was Coyle's wife, nicely portrayed by soprano Janice Hall.

Nothing pains us more than seeing a waste of talent, time, and resources. With so many undiscovered gems out there, it's a pity to see this happen.

(c) meche kroop

Coming from a military family, his refusal to complete his martial education arouses the disgust of his family, his girlfriend, and his ancestral manor.

PRINCE OF PLAYERS

John Kaneklides, Shea Owens, and Jessica Sandidge (photo by Tina Buckman)

Little Opera Theatre of New York, referred to as LOTNY, has been around for a dozen years. Grand in ambition and great in execution, we have trouble with the adjective "little". Founder and Artistic Director Philip Shneidman knows how to put on a show; for the premiere of Carlisle Floyd's opera Prince of Players, he has assembled a talented production team and two wildly talented casts and put them through their dramatic paces with great style.

The libretto was adapted from Jeffrey Hatcher's oft revived play Compleat Female Stage Beauty, which also spawned the film Stage Beauty in 2002. The story, inspired by an entry in the diary of Samuel Pepys, seems to have been little altered. There are two main themes: the first is the difficulty of adapting to a radical change of politics (a very current concern!) and the second is reflective of last night's review of Opera Lafayette's production of Leonore--the theme of a woman rescuing a man.

We are in London in 1661 and Charles II has regained the throne, ending twenty years of repressive Puritan rule. Edward Kynaston, so movingly portrayed by baritone Shea Owens, is famous for performing female roles, since women had not been permitted on the stage. Samuel Pepys (spoken by Hunter Hoffman) acknowledged Kynaston as the most beautiful actor on the stage...and the most beautiful woman in London.

His female dresser Margaret Hughes is not only in love with him but wants very much to be him and to strut the boards. She copies his every gesture. Soprano Jessica Sandidge created a most believable character, carefully balancing her love for him with her competitiveness.

As his friend and lover Villiers, Duke of Buckingham, tenor John Kaneklides was totally convincing and delivered a very fine aria in which every word, enunciated in a plummy English accent, was understandable--something which we wish we could say about everyone.

The pompous King Charles II was played by tenor Nicholas Simpson who also managed some fine singing, superb acting, and clear diction, in spite of being in the upper register a great deal of the time.

As his mistress Nell Gwynne, petite soprano Sharin Apostolou (barely half the size of the King) had the spirit of a woman twice her size. She also longed to play upon the stage and was partly responsible for the King's edict to give women the right to perform. Her big moment came when she sang a folk ballad for her audition, a moment we truly enjoyed.

Bass Matthew Curran portrayed the theater manager Thomas Betterton who will do anything to keep his theater afloat and will steer his ship through the eddies of the current political climate.

Smaller roles were just as well cast and performed. Comic relief was provided by two hilarious performances: Soprano Michelle Trovato played Miss Frayne while mezzo-soprano Hilary Ginther portrayed Lady Meresvale. The scene in which they try to find out Kynaston's gender was hilarious. But it turned ugly when Sir Charles Sedley (effectively played by tenor Neal Harrelson) appeared, seeking sexual favors.  Kynaston played along with a prank in which he tried to sell the favors of his two lady companions. Sedley was outraged and humiliated when he discovered Kynaston's male equipment and developed a vengeful streak.

This vengeful streak led him to have our hero badly beaten, giving Ms. Hughes the opportunity to rescue him and nurse him back to health. Then she does something that leads to his transformation.  More, we will not tell you!

Mezzo Jane Shaulis had great fun with her role as Mistress Revels, putting poor Kynaston onstage in a bawdy performance in a tavern, way beneath his talent but the only job he could get once his roles were taken by women. It was the hallmark of a fine performance to witness Kynaston's descent from fame and arrogance to shame and humiliation--and later to....no, we won't tell you the ending!

The direction was right on point and we felt as if we were watching a fine play. The set by Neil Patel and Cate McCrea utilized the stage of the Kaye Playhouse at Hunter College to create a playing area in the center with balcony seating created on either side with metal risers. It was most effective, as was Nick Solyom's lighting.

Costumes by Lara De Bruijn were outstanding and completely a propos the 17th c.  Wigs by Rachel Padula Shufelt looked great, except for Kynaston's which always looked unconvincing.

So...as theater it worked brilliantly and we were very entertained and also moved by the characters.  But this is an opera and we have yet to mention the music!

Taste in music is a very personal thing and, in spite of giving Mr. Floyd's music our full concentration, we were unable to find much to enjoy, although he is considered America's preeminent composer. After last night's Gavreau and the prior night's Handel, this music sounded unmusical to our ears. We were sort of okay with the orchestral interludes, beautifully played by the orchestra conducted by Richard Cordova. We heard something of value in the sex scene between Kynaston and Villiers. The pompous music for King Charles sounded about right. 

But for the rest of the time we did not experience the music as adding to the drama or the development of the characters. We felt very sorry about that because the elderly Mr. Floyd was present in the audience and we would have so much enjoyed congratulating him, but could not. 

We have heard these singers on prior occasions and they all have splendid voices but this music could not show them off to their best advantage. For that, one needs long legato lines.  English text discourages that feature.

It is just possible that this story does not require music. Or perhaps it wanted something more melodic. Perhaps Mr. Floyd's music will thrill you in a way that did not thrill us.

We are however pleased to recommend the production and hereby let you know that this superlative cast will be singing the Sunday matinee performance.  Examination of the other cast lets us advise you with confidence that tonight's performance will be just as enjoyable.

(c) meche kroop

CARDONA DOES DON CARLO

Michael Fennelly, Ricardo Tamura, Julia Rolwing, Daniel Cardona, Ann McMahon Quintero, Daniel Lickteig, Matthew Curran and Jeremy Galyon

When Daniel Cardona, Founder and Artistic Director of the Martha Cardona Theater, undertakes to present one of his evenings of opera, you can rest assured that the talent onstage will be unparalleled.  Last night at Christ and St. Stephens Church he presented Verdi's longest opera--but the evening flew by.  Truth to tell, he presented excerpts from the opera in concert version; all the major highlights were there--arresting arias, divine duets, terrific trios, and a quality quartet.

We don't know how Mr. Cardona managed to assemble such a perfect cast but it was a dazzling assemblage of talent.  As the tragic eponymous hero, we heard tenor Ricardo Tamura, often heard at The Metropolitan Opera.  Hint:  he is singing the role at The Met this Spring.  Don't say we didn't alert you.

As the woman he loves, the French Princess Elisabetta, we heard the fine soprano Julia Rolwing.  As his best friend Rodrigo, baritone Daniel Lickteig exhibited a fine tone and a sympathetic character.  The marvelous mezzo Ann McMahon Quintero took on the role of The Princess Eboli and somehow managed to evoke sympathy for this jealous vengeful character.

Even King Fillipo II, a thoroughly detestable character who has his own son murdered, as sung by bass Matthew Curran, had a moment of sympathy when he sang the famous aria "Ella giammai m'amo!"; an old man suffers when he realizes his wife, stolen from his son, never loved him.

The only character for which one can feel no sympathy whatsoever is The Grand Inquisitor.  Bass Jeremy Galyon has a particularly penetrating sound that was just right for the man that has even the King quaking in his boots!

So aptly cast were these singers and so perfectly sung were their roles that we were on the edge of our seat (a pew, actually).  Large voices all--the kind you rarely get to hear nowadays.

In the role of the page Tebaldo, the beautiful young soprano Madison Marie McIntosh revealed a gorgeous light tone that matched well with that of Ms. Quintero in a highly decorated vocal line.  About to graduate from Mannes, Ms. McIntosh has also made good use of her training with the good folks at Classic Lyric Arts.

The opera itself is one of our favorites.  Happily, the choice was to sing it in Italian in the Modena version, rather than the original French version.  Just as happily, the Fontainebleu scene was included; it shows how Don Carlo and Elisabetta fall in love and thereby justifies all the grief and jealousy and conflict which result.

The opera is about an impossible love; what's a man to do when his father decides to marry his intended bride for political reasons?  The opera is about loyalty; Rodrigo sacrifices his life so that Carlo can fulfill his political destiny.  The opera is about betrayal; Princess Eboli rats out her mistress Queen Elisabetta out of jealousy and envy. The opera is about power; King Phillip II (Fillipo II) has enough power to subjugate the poor Flemish, enough to get the girl, and enough to dispatch his son, but not enough to trump The Grand Inquisitor whose threats are anything but empty. It asks the question "How can love survive in an atmosphere of terror and suspicion?"

Some of our favorite scenes include the one in which Princess Eboli realizes that Don Carlo loves Elisabetta and not her.  What wrath was exhibited by Ms. Quintero! Another favorite was Filippo's aforementioned aria in which Mr. Curran succeeded in evoking our sympathy for this pathetic ruler. Ms. Quintero's "O don fatale" brought down the house.  Let us not forget the scene in which Rodrigo comes to Carlo's prison, accompanied by repetitive alternations between half-tones in the piano,  and expresses his loyalty and wish to die for his friend-- "Io morrò".  Mr. Tamura and Mr. Lickteig were incredibly effective in this duet.  Finally, Ms. Rolwing's handling of the wide jumps in "Tu che le vanità" were impressive.

The score was played on the piano by the always amazing Michael Fennelly.  Although this is one of the few remaining productions that The Met has yet to trash and one which we love, we enjoyed the piano reduction and the opportunity to hear some sensational voices.  

© meche kroop

CARDONA DOES TOSCA

Jason Stearns, Hugo Vera, and Kian Freitas

Stella Zambalis and Jason Stearns

The Martha Cardona Theater has been in existence for about five years--growing in stature and reach while accumulating a group of singers that deserve to be widely heard.

Finally, Founder and Artistic Director Daniel Cardona was ready to produce a full-length opera with a full orchestra.

For this landmark event he chose one of our favorite operas--Puccini's Tosca--and he chose to present it in a semi-staged production at the mid-sized and acoustically excellent Merkin Concert Hall.  By semi-staged we mean that there was minimal scenery but there was no shortage of convincing acting.

To present Tosca, one needs a larger-than-life soprano to play the eponymous heroine who is herself larger-than-life. A true diva, soprano Stella Zambalis exhibited such familiarity with the nuances of the role that she actually became the 19th c. diva in love with the painter Cavaradossi.  With a sizable soprano and convincing acting one could not have asked for more.  To see her attack the evil Scarpia was to tremble in one's seat.

The role of Scarpia was performed by baritone Jason Stearns who captured our ears (if not our hearts) with his oily menace.  He made the perfect villain and we would have been happy to see him die, were it not for the fact that we wouldn't hear his voice in Act III!

Bass Matthew Curran made a fine Angelotti, even though onstage only briefly.  His voice had a fine quality and his acting was convincing.

Even more impressive was bass-baritone Kian Freitas who created a most believable Sacristan; he became a real character, a priest who snooped in the basket of food and exhibited a number of other small believable gestures.  Previously unknown to us, we wish to hear more of him.

Tenor Hugo Vera sang well but over-acted the part of Spoletta, over-reacting to every nuance of everyone else's lines.   We picture Spoletta as more contained, more severe and less sneering.  Actually, baritone Samuel McDonald was far more believable as Sciarrone and sang with lovely tone and phrasing.

Lead tenor Ta'u Pupu'a as Cavaradossi was a bit disappointing.  We have heard him before and he was not his best for this performance. He seemed to be pushing his upper register and lacked the requisite chemistry with Ms. Zambalis in Act I.  He did improve over the course of the evening and was most touching in Act III as he faced death.

No one was credited with Stage Direction and one got the impression that each singer contributed ideas.  Most of them worked well.  We are quite sure that Mr. Cardona himself had a lot of directorial input. We forgot that there was no church, no Castel San'Angelo.  The character's interaction told us everything.

We particularly enjoyed the duet between Mr. Freitas and Mr. Pupu'a in Act I, the end of Act II when Tosca stabs Scarpia, and the interlude before Act III when Cavaradossi stands silently contemplating his anticipated death.  Much can be communicated with body language.

There was no problem with diction.  Every word was clear such that when the titles disappeared in Act III, we barely noticed.

Maestro Brian Holman's baton brought the onstage orchestra together for Puccini's glorious music; we were particularly fond of Melanie Genin's harp.

It was a fine evening; the house was packed and the entire cast received a lengthy standing ovation which they richly deserved.

We are looking forward to more fine work from The Martha Cardona Theater.

(c) meche kroop

MINUS THE AUTO-DA-FÉ

Krysty Swnn, Elisabeth Stevens, Dominick Rodriguez, Lee Poulis, Sable Rivera, Kevin Thompson nd Matthew Curran

 

 

Of all the versions of Giuseppi's Verdi's Don Carlo, we prefer the Modena version of 1886 and that is just the version we heard last night when the Martha Cardona Theater presented a concert performance at the National Opera Center.  Founder Daniel Cardona wants us to hear opera sung by great voices and has a knack for finding and casting them.  Freed from sets and costumes, we can focus exclusively on the sound.  How pleased we were to hear the opera sung in Italian; there are those who favor the original French but we personally prefer the sound of Italian.

Don Carlo is a long demanding opera which amply rewards the listener's sitzfleisch with gorgeous melodies, shattering arias, harmonically stirring duets and intricate ensembles.  Musical Director Sean Kelly handled the piano accompaniment with great care and skill.

Verdi transports us to 16th c. Spain when King Fillipo II rules his empire with an iron hand, subjugating the miserable citizens of Flanders.  He in turn is ruled by the Grand Inquisitor from whom no one is safe. 

Mr. Cardona wisely included the important first act in which Fillipo's son Carlo (tenor Dominick Rodriguez) meets his intended bride Elisabetta (soprano Elisabeth Stevens) at Fontainbleu.  This sets up the action for the rest of the opera and explains Carlo's despair when his father decides to marry her himself.  It also gives the couple a not-to-be-missed duet "Che mai fate voi?"

But the opera is not just a story of unfulfilled romantic longing but also a story of Filippo's refusal to grant political freedom to the Flemish (nice parallel with today's news) and his despair that Elisabetta has never loved him.  Indeed, his aria "Ella giammai m'amò" is the bass' opportunity to evoke a modicum of sympathy for this detestable character who consults with the Grand Inquisitor about how he can eliminate his son! Their scene was sinister and chilling; its success was enhanced by the very different colorings of their equally impressive bass voices--Matthew Curran as Fillipo and Kevin Thompson as the Grand Inquisitor.

There were other equally riveting scenes.  Mezzo Krysty Swann in the role of Princess Eboli used her rich voice effectively in the garden scene, singing a lovely duet with the page Tebaldo, sung by Sable Rivera.  Her handling of the melisma in the Moorish melody was exquisite.

The expression "chewing up the scenery", had there been any, would have applied to her aria "O don fatale" in which her remorse for betraying the queen is expressed, along with blame for her beauty which has led to the sin of pride. 

Our favorite character in this opera, and perhaps one of our favorite baritone roles, is Rodrigo, the Marquis of Posa; in a performance in which vocal color must express so much feeling, Lee Poulis sang with intense involvement and utterly convinced us of his loyalty to Carlo and his unselfish wish to help the Flemish.

His is a crucial role in the opera since he must support Carlo and also try to establish his loyalty in service to the crown while riskily pleading the cause of the Flemish.  He has a fine duet with Carlo in Act II "Dio, che nell'alma infondere amor" and another in Act IV "Per me giunto è il dì supremo" when he sacrifices his life for his friend. Who could not be moved by "Io morrò, ma lieto in core"?

After Elisabetta's aria "Tu, che le vanità", movingly sung by Ms. Stevens, she is joined by Carlo for the final duet in which they hope to meet in a better world, replacing the hope for joy in the material world heard in Act I.

Mr. Rodriguez's fine tenor carried the title role in fine style.  There was not a performance of less than stellar quality.  Mr. Cardona favors big voices, the kind one rarely gets to hear in small companies casting young singers.  These concert presentations gives them an opportunity to sing roles that they will likely get to sing at the Met in the future.

With such a fine feast of Verdi, getting an "amuse-oreille" before the opera began was nearly overkill but it gave us an opportunity to hear two more outstanding voices in previews of upcoming operas, accompanied by Jestin Pieper. You would do well to add to your calendar three events for this summer.

On June 17th, soprano Michelle Trovato will sing Liu in Puccini's Turandot.  We heard her "Signor, ascolta" last night and were impressed.  On June 28th, Zhanna Alkhazova will sing Tatiana in Tchaikovsky's Eugene Onegin.  We heard an excerpt from the Letter Scene and, on that basis alone, urge you to attend.  And on July 3rd, a little birdie told us that Massenet's Werther is in the works.  This is welcome news for the vocally barren summer season in New York.  Three cheers for Martha Cardona Opera!

© meche kroop