LA BOHÊME FOR THE PEOPLE

 

Carl DuPont, Gustavo Feulien, Inna Dukach, Gregory Turay, Elizaveta Ulakhovich, and Alexander Boyd

It is only three weeks since we last saw Puccini's heartbreaking masterpiece but La Bohême always offers fresh insights. Last night, at an outdoor performance in a very crowded Bryant Park, we took a macroscopic view of the story as an indictment of a society that doesn't care very well for its young and the ill. We didn't need modern dress or veiled references to any modern "plagues" to achieve such a realization. It happened because the direction was led by the music and the text without any directorial arrogance or program notes about the "concept". Costumes were of the period and the minimal set pieces let us know we were in the 19th c.

This by no means intends to shortchange the microscopic view--that of feckless youth  forming instant relationships without consideration of common values, future plans, or compatibility.  There are little moments that stand out. Consider the self-styled "artist" whose works don't sell, a writer who ekes out a modest living writing articles for a magazine, a philosopher who can barely afford to buy used books, and a musician who plays for a parrot. Who cannot help but think of contemporary times when young hopefuls share apartments in slums, living on ramen packages! To make matters worse, they are rarely covered by health insurance. La plus ça change, la plus c'est la meme chose!

 Yet it is perceived by the public as a "love story";  but it is also about the loss of innocence. At the end of the opera, this group of youths will be forever changed. Perhaps Musetta and Rodolfo will be inspired to love better. Perhaps some of them will look for jobs. The libretto by Luigi Illica and Giuseppe Giacosa does not tell us, nor did the episodic novel written by Henri Murger. So we are free to form our own speculations. What a rich work that can be appreciated on so many level!

In this abridged production by New York City Opera (The Peoples's Opera!) several scenes were cut, but Director Michael Capasso took the stage as narrator and described what had happened that wasn't shown. We completely understand the challenges of cutting the opera to fit into a time frame and to suit the interests of a crowd in which many members were not hard core opera fans. We can only hope that some of them were sufficiently enchanted to seek out a complete performance. Although the Metropolitan Opera has replaced so many of its magnificent productions with disappointing ones, it would be a grave mistake to ditch the impressive Zeffirelli production with its lavish second act Xmas Eve scene or the snow falling quietly and merchants passing through the city gates when Mimi leaves the city to find Marcello in the third act.

My companion for the evening is a theater and film director and an opera "newbie"; we wanted his opinion on the dramatic aspects. Since there were no titles and no summary, we wondered whether the story was told as clearly as we thought. He definitely got the gist of things, thanks to the effective stage direction; however he made an interesting suggestion that narration could have been better accomplished by having one of the minor characters narrate the story. Also it would have been better to hear the plot before the scene, not afterward.

All things considered, the singers did a fine job of storytelling. Soprano Inna Dukach made a most sympathetic Mimi and tenor Gregory Turay was a most ardent Rodolfo. We are personally uncomfortable with amplification and are never sure we are hearing the voices as they are meant to be heard. We were rather delighted with Mr. Turay's pianissimi but not so delighted with his forcing the volume in the upper register. Perhaps it is just not possible to float the high notes under such circumstances but we do not know enough about sound design to say so.

Soprano Elizaveta Ulakhovich gave a splendid performance as Musetta but, due to the elimination of the populous café scene, she was obliged to sing her show-stopping "Quando m'en vo" to a man recruited from the audience instead of flirting with the café customers and soldiers. So, we had a bit of audience involvement.

Her love-hate relationship with Marcello was well realized and baritone Gustavo Feulien filled out his role as well as one could have hoped. To complete the group of bohemians we had Carl DuPont as the philosopher Colline and Alexander Boyd as the only member of the group who seems to find employment. To those who know the opera, the story of his being hired to play for a parrot brings a moment of comic relief; even funnier is the fact that his three flatmates are so famished that they can only focus on the victuals he has provided and completely ignore the story. There wasn't room for much comic relief in this production and we missed the way the four youths put one over on their landlord Benoit when he comes to collect the rent.

Fortunately Colline's Act IV aria "Vecchia zimarra" was not cut so we enjoyed the low voice of Mr. DuPont and appreciated the symbolism of his sacrifice. As most of you already know, Dear Reader, he pawns his old overcoat to buy medicine for the dying Mimi. He too is "adulting".

Of course, the scene that sets the drama in motion is the first act meeting between Rodolfo and Mimi in which Rodolfo gets Mimi to stay by hiding her key and she gets Rodolfo to take her out for dinner with the hint of more to come later. So much subtext in one scene! So reminiscent of 21st c. dating! Still, the music tells us only of their rapturous feelings.

Speaking of the music, we found the aural balance to be wanting and there were a couple occasions of feedback. Maestro Joseph Rescigno did his best with a chamber orchestra which played at ground level (of course) in front of the slightly elevated stage. These are the hazards of outdoor opera and we will not make harsh judgments of the orchestral balance.

As a matter of fact, we recall the long ago productions of The Metropolitan Opera in Central Park every summer which were abandoned in favor of concerts of arias. We recall laying blankets out at sunrise in order to sit in the first "row"; we remember asking the police officers in attendance how they enjoyed the opera (very much so), and how grateful and uncritical we were. So, in that spirit, we thank the artists who brought this production to the public free of charge and hope that a few converts to opera were made.

© meche kroop

PASTA MEETS OPERA

Jessica Rose Cambio and Won Whi Choi in the love scene from Act I of Puccini's La Boheme

"If music be the food of love, play on", said the Bard. Last night, at Giovanni Rana Pastificio, we enjoyed both music and food together, but, thankfully, in alteration--thus removing the conflict between savoring the food or the music. We got to concentrate on each in turn.

Michael Capasso, General Director of New York City Opera, rounded up three sublime sopranos and three terrific tenors to entertain us between courses of Mr. Rana's perfect pastas. Mr. Capasso himself narrated the program, supplying interesting tidbits about the life of Giacomo Puccini (especially his love life).

To begin, Jessica Rose Cambio and Won Whi Choi gave a deeply heartfelt performance of the love scene from Act I of Puccini's 1896 opera La Boheme. Who could not be affected by two young people pouring out their stories to one another! We listened and felt their attraction blossoming.

Then Kristin Sampson and James Valenti performed the scene from Act I of Puccini's 1900 Tosca. The jealous Floria Tosca confronts her lover Mario Cavaradossi with her suspicions when she notices that his painting of the Virgin has blond hair and blue eyes. The superb duet ended with Mr. Valenti dabbing dark paint onto the eyes of the painting on the easel.

The final duet was another love scene from Act I of Puccini's 1904 Madama Butterfly. Inna Dukach made a lovely delicate butterfly landing gently on the arm of her new husband Pinkerton, ably sung by Jason Karn. One could almost forget the tragedy that would come to pass.

Piano accompaniment was provided by Kathryn Olander. Costume design by Derek Lockwood was outstanding and totally appropriate for each scene.

It is a very difficult thing to perform in a restaurant where people eat and drink and talk. It was amazing that these fine voices rose above the din and captivated the crowd. We believe that the fine entertainment succeeded in bringing new people to the opera house. To have heard three such excellent duets is to become a convert.  Indeed, patrons of the restaurant were offered a 20% discount on seats to Ottorino Respighi's La Campana Sommersa which will be produced by NYCO from March 31st through April 5th. New York City has not heard a performance of this opera since 1929!

If music is food for the soul, pasta is music for the taste buds and we got to taste several varieties of Mr. Rana's creations, all of them original. His restaurant is in the Chelsea Market. What a swell evening!

(c) meche kroop

MARRYING MOZART

Just look what happens when you put a best-selling novel into the hands of two small creative opera companies!  The novel is Stephanie Cowell's Marrying Mozart and the two opera companies are Dicapo Opera Theatre and Opera Moderne, both renowned for their ambitious and risk-taking productions.  The result is a musical entertainment which Opera Moderne's Rebecca Greenstein calls a singspiel, Dicapo Opera's Michael Capasso calls "a play with music", and which we call plain unadulterated fun.

Should you be fortunate enough to secure tickets for the three remaining productions you will enjoy wondering how much of the tale is true and how much is fiction which, as we all know, is often truer than the "truth".  Ms. Cowell's story relates half a dozen years in the life of the young Mozart and describes his involvement with the Weber girls, one of whom he ultimately weds.  But oh the twists and turns before the decision is made!

Brought to the home by Weber père (Greg Horton), Herr Mozart (Ian Harkins) confronts four daughters whom Frau Weber (Roxann Kraemer) would like to marry off to wealthy men.  Josepha, the eldest, portrayed by Lauren Hoffmeier, is crazy about her father, hates her mother and has a rather shocking fact to reveal which we will not spoil for you.  Aloysia Weber, portrayed by soprano Adrian Lee, is the self-centered one with whom Mozart has an attenuated romance until she decides she is tired of waiting for him and has a scandalous affair with another man while pursuing her singing career.  She does her own singing in the play and it's some fine singing she does.

The youngest girl Sophie (Christina Faicco) is the sweetest one and we watch her evolve from child to young woman.  The third daughter whom Mozart eventually marries is Constanze, called Stanzi (Christian Sineath) who is rather insecure, living as she does in the shadow of the two elder sisters who delight their father and embarrass their mother by singing in public.  Like the mother and Aloysia, she too indulges in some scandalous behavior, far more scandalous than one would expect in the 18th c.

We get to hear lots of Mozart's music in the course of the drama.  Sopranos Julia Lima and Raquel Suarez along with tenors Anthony Webb and Marques Hollie made some beautiful music together in excerpts from Die Entführung aus dem Serail and Ms. Hoffmeier gave a moving performance of the "Agnus Dei" from Mozart's Coronation Mass, just to name a few of the delightful musical interpolations.

The novel was adapted for the stage by Mr. Capasso himself.  Musical direction was by Pacien Mazzagatti who didn't sound at all like a killer of cats (if you don't understand Italian, ask to have that explained).  The effective set was by John Farrell and lighting by Susan Roth.  The extravagant 18th c. costumes were by Emily Parman and Ms. Greenstein herself was responsible for the lavish hair and make-up design.

We leave it up to you to find a phrase to describe this event to your own satisfaction.  We are happy to abandon categorization.

(c) meche kroop

THE MOST HAPPY AUDIENCE

The Dicapo Opera Theatre has managed to fill the house with music and laughter during its extended run of Frank Loesser's The Most Happy Fella--so much so that we were reminded of our long-held wish that one of New York City's small opera companies would fill in one of the gaps in our opera scene.  At the time we expressed this opinion, South Pacific was filling the Vivian Beaumont Theater at Lincoln Center night after night.  BUT, big but here, they used amplification; Dicapo does not.  It is a comfortably intimate house that seats but 200 and, in this case, involved a cast who moved gracefully from opera to "a Broadway sound" without any feeling of noblesse oblige.  These singers brought the show to life without making any compromises.  Reflecting on what we previously wrote about what comprises an opera, we consider this an opera, especially when it is sung by good voices and without miking.

As the eponymous hero, baritone Michael Corvino gave a most committed performance.  He was completely believable as the lonely Italian vintner establishing himself in Napa Valley, CA in the mid 20th c.  He absolutely oozed garlic.  His sister Marie was gorgeously sung by mezzo Lisa Chavez, who, while very much looking the part did not have an old-country accent at all, leading us to speculate on how she managed to lose it!

The San Francisco waitress with whom Tony falls in love and whom he calls "Rosabella" was winningly acted and impressively sung by soprano Molly Mustonen.  The big issue that this couple must deal with involves a series of betrayals and ultimate forgiveness.  Tony woos Rosabella by mail with a photograph of a much younger and handsomer man, his foreman Joe, in which role Peter Kendall Clark gave a persuasively cocky performance that benefited from his generous baritone voice.  His solo "Joey, Joey" was moving and went a long way toward establishing his character.

In a blind rage at the deception, Rosabella behaves badly, marries Tony anyway but has an intimate encounter with Joe which results in a pregnancy.  Tony also has his issues.  Fear of Rosabella's discovery of his deception leads him to have a driving accident and he is carried home in very bad shape for the wedding.  How these two flawed human beings resolve their issues leads us to care for them and want them to be together in spite of Marie's warnings about the difference in their ages.  Marie wants Tony to be an old man she can look after and is threatened by Rosabella's taking over her duties.

This is serious stuff but comic relief is provided by Rosabella's friend Cleo (the delightful belter Lauren Hoffmeier) and Tony's employee Herman (the hilarious Brance Cornelius) who somehow manage to get together also. Their show-stopping number "Big D" won our hearts. As if this weren't sufficient to keep us smiling, we also heard some wonderful ensemble work in "Standing on the Corner" and, our personal favorite "Abbondanza".

That delicious word just about sums up the entire production.  An abundance of good singing, good acting, good storytelling and good music provided by (gasp!) a full orchestra, ably conducted by Maestro Pacien Mazzagatti.  For unknown reasons, the orchestra was not in the pit but onstage behind the singers.  John Farrell is credited with the set design which consisted of nothing but a few benches and a table; more was not necessary.  Costumes by Julie Wyma were apropos the period.  Francine Harman was responsible for the choreography which we truly enjoyed in the "Big D" number.  General director Michael Capasso did better as Stage Director than he did as an actor portraying the manager of the San Francisco restaurant where Rosabella was working.

We thank him and Diane Martindale, the Artistic Director, for showing us a realization of our dream--to see an American musical treated as the opera which we believe it to be.  With pleasure we noted that next season's roster includes Kismet.  We are filled with anticipation.

(c) meche kroop