A WORTHY DISCOVERY

Maestro Patrick Quigley conducting Opera Lafayette Orchestra's world premiere performance of 

Edmond Dédé's Morgiane, ou, Le Sultan d'Ispahan

Singers L to R: Joshua Conyers, Mary Elizabeth Williams, Chauncey Packer, Nicole Cabell, 

Kenneth Kellogg, and Jonathan Woody 

(photo by Jennifer Packard, Courtesy of Opera Lafayette)

After such a satisfying evening, we scarcely know where to begin. In an era when the field of opera is getting bogged down in prosy unmusical polemics, a few companies stand out by mining the past for undiscovered treasures. Teatro Nuovo brings to life forgotten gems from the Bel Canto period, whereas Opera Lafayette brings to the table a scholarly approach to rarely heard operas of the 17th, 18th and 19th c. The D.C. company's annual visits to New York City bring us education with our entertainment. Both companies achieve sold out status, proving that opera is not a dying art form.

There is room for contemporary opera just as there is for modern art. They just fail to provide nourishment to our classical eyes and ears. We would happily attend Nozze di Figaro, La Traviata, and La Bohême several times a year (and we have). Just the same, to be introduced to a work from the past that has lain forgotten gives us a thrill like no other.

A great deal of scholarship went into the recreation of Morgiane, ou, Le Sultan d'Ispahan and Opera Lafayette partnered with OperaCréole to bring this work to the stage, just in time for Black History Month. The composer Edmond Dédé was a Free Man of Color whose lifespan occupied the greater part of the 19th century. The opera is probably the first four-act opera by a United States born composer of African descent. Born in New Orleans, he established his reputation in France in the second half of the 19th century and his rich melodies reveal an exposure to various forms of music from café-concerts to high opera. We hope to hear some of his songs on recital programs!

The libretto he set was an exotic tale by Louis Brunet and probably was inspired by Europe's 19th century fascination with Asian exotica. The Islamization of Persia began in the 7th century and we can assume that the opera takes place after that time since the ruler in the opera is the tyrannical Sultan Kourouschah. Prior to the time of the opera, his mistreated wife had fled with their infant daughter in her arms and had been rescued by Hagi Hassan, a good man who raised the child with love and care. At the time of the opera, the girl, named Amine has just wed a worthy young man named Ali when Beher, a henchman of the Sultan, abducts her to be the consort of the Sultan. Yikes!!!!

We are sorry to have given away the secret surprise reveal of the 4th act. Actually, as is our wont, we did not read about the opera in advance, hoping that the work would speak for itself, which it surely did. Nonetheless, we were probably not the only member of the audience to have anticipated the surprise!

The work was exceptionally well cast. Although the production was given as a concert version with music stands, exotic atmosphere was provided by the gorgeous "Arabian Night" costuming, even for the chorus. Yes, we know that Iran (the country formerly known as Persia) is not Arabic but you, Dear Reader, know what we mean. This colorful costuming was designed by Amy Amos, Givonna Joseph, and Aria Mason. In spite of the music stands, the singers, especially the women, managed to inject their characters with dramatic intention, looking at the character they were addressing.

The role of Morgiane was played by Mary Elizabeth Williams whose spinto instrument filled out the emotion of the lines in a way that created a character of depth and determination. Her way with the vocal line was exemplary and the tonal quality admirable. Although she is the eponymous heroine, her best music and dramatic performance was saved for Act IV when she performed a stunning aria replete with arpeggios. She created a character that was forceful and spunky, proving that women can change their fates, and we are on board with that! 

Nicole Cabell is an entirely different type of soprano, a coloratura possessing an instrument of great agility. The ease with which she handled the fioritura whilst maintaining a warm coloration delighted our ears. Like Ms. Williams she always gazed upon whichever character she was addressing. She was completely believable as Morgiane's daughter Amine. Dédé gave her the most interesting music with a number of excellent arias and also duets.

As her new husband Ali, tenor Chauncey Packer sang sweetly with a lovely legato vocal line and a warm coloration, making his character most likable. One could really feel his anguish at losing his bride and his determination to recover her. In the duets, his voice blended beautifully with Ms. Cabell's, notably in Act I, in which the pair set the tone for the story by means of their mutual affection and deep devotion.

Joshua Conyers has a warm baritone that was just right for the role of Hagi Hassan. He conveyed all the warmth of a pater familias, protector of his family, a man who will go to any lengths to ensure their safety. And yet, one could imagine him as a shining knight on a white horse some two decades earlier, rescuing the poor Morgiane as she fled from her abusive husband--just the kind of hero who will raise another man's child as his own.

There was something very touching about a family banding together to try to save one of their own at a risk to their own lives. This is operatic in a way that contemporary stories cannot manage. We heard a stunning trio in which the parents and new husband vow vengeance for the abducted Amine. The composer's quartets showed his skill at weaving vocal lines into a multi-textured fabric.

The role of Beher, the Sultan's henchman, was well portrayed by bass-baritone Jonathan Woody who sat stony-faced but managed to sing with a snarl.

And finally, the role of the arrogant Sultan was sung by bass Kenneth Kellogg whom we didn't get to hear until Act III. Of all the singers, his French was the most comprehensible; of course, that is partly due to the low register, but also due to his crisp enunciation. He undergoes an Act IV transformation that was made believable by his skill at altering vocal coloration.

Just imagine!  An opera with a happy ending!  We left smiling because of the successful resolution, but also because of the marvelous music. Maestro Patrick Quigley was in full command of his resources and drew many colors from the orchestra. The music was varied with many contrasts of orchestration and rhythm.  In the opening chorus, members of the OperaCreole Ensemble, sang about nature in lilting waltz time. Later, we heard martial music in 4/4 time. 

Orchestral colors rivaled those of the rainbow. We even had the opportunity to hear the rarely heard ophicleide, an unusual brass instrument with a wide register, played by keys. We were so curious, we looked it up and learned that it was used mainly in the 19th century. and was featured in works by Mendelssohn and Berlioz. This was surely a night of discovery! We realize we have mentioned colors and coloration a great deal and perhaps this is one of the reasons we enjoyed the evening so much.

Let us finally mention that smaller roles were played by members of OperaCréole, including Valencia Pleasant, Taylor White, and Antonio Domino, Jr.

We believe a recording is forthcoming, in which case, Dear Reader, we urge you to have a listen. How impressive it is when two companies join forces to resuscitate a forgotten work. We in the audience only get to see and hear the end result. One can only imagine the happy accidents and diligent labor that went into creating such a memorable event.

© meche kroop

NIGHT SONGS AND LOVE WALTZES

Nicole Cabell, Kate Aldrich, Greg Anderson, Elizabeth Joy Roe, Maestro Ted Sperling, Nicholas Phan and Nimon Ford

It is obvious that Maestro Ted Sperling adores what he does and so does his audience. It seems as if he loved putting together the program "Night Songs and Love Waltzes", judging by the enthusiasm with which he introduced each part of the program to the audience at Alice Tully Hall. We would also hazard a guess that the members of Master Voices adore him, such was the rapport he had with them.

What impressed us the most about this esteemed choral group is the clarity of their diction. Text is so important in art song and musical theater! We want to understand every word, and we did when the chorus was singing. We wish we could say the same about the soloists but we cannot. 

Except for a few instances, words were carelessly enunciated and, if you didn't know the songs, you missed a lot of the meaning. This was particularly distressing in the medley of songs from Sondheim's 1972 masterpiece A Little Night Music, in which we wanted to understand every delightful turn of phrase. Apparently, American-born singers do not really work at this clarity.  More's the pity!

The voices were excellent however. Nicole Cabell has a scintillating soprano; Kate Aldrich's mezzo instrument is colorful and well employed; Nicholas Phan's tenor is meltingly tender and especially lovely in Brahms' "Nicht wandle, mein Licht" from Brahms' Liebeslieder Walzer and in Schumann's "Mondnacht", although we were dismayed by his carelessness with the final consonants. Nimon Ford has a substantial baritone which he used well in Brahms' "Unbewegte laue Luft" which had an abrupt change from gentle to passionate.

Our favorite song among the Liebeslieder Walzer was "Am Donaustrande" when the singing abruptly changed color and dynamics in tandem with the text.

Maestro Sperling, in his introduction, pointed out how folks in the 19th c. would spend an evening gathered around the piano making music together; this sounds to us like a lot more fun than sitting some place with friends with each one on his/her cell phone!  

There seemed to be something artificial about the four singers lined up behind those music stands; someday we would love to see this work performed in a less formal setting. Singers trying to act whilst turning pages and glancing down at the score is just not ideal for drawing the audience in.

The "Ständchen" we heard was not the Schubert serenade we always hear. The text by Franz Grillparzer was sung by Ms. Aldrich and echoed by the chorus--a truly lovely effect.

We loved Schumann's Jagdlieder, sung by the men's chorus and accompanied by four French horns played by Zohar Schondorf, Steven Sherts, Kyle Hoyt and Shelagh Abate. The most unusual was "Frühe" in which the vocal lines overlapped.

Sondheim composed A Little Night Music in 3/4 time and Maestro Sperling arranged  a suite of the songs for our delight. Since the words were frequently incomprehensible, we found ourself focusing on the sound of the cello. (Peter Schon and Mairi Dorman-Phaneuf were also wonderful in Mendelssohn's "Verleih uns Frieden").

Clara Schumann's "Gondoliera" was composed as a birthday gift for Robert and served the purpose of making us want to hear more lieder from this somewhat overlooked composer.

Composer Ricky Ian Gordon was in the audience, visibly enjoying the performance of his cycle Life is Love, settings of text by Langston Hughes. Although this is not our kind of music, we did very much enjoy "New Moon" in which the four singers and horns shared overlapping lines with the chorus. We are not sure one could call this a fugue but it was very interesting and complex.

Pianists for the evening were Greg Anderson and Elizabeth Joy Roe who make a compelling duo, sometimes playing on two pianos and sometimes sharing one piano bench. They performed their own wild arrangement of Brahms' Virtuoso Hungarian Dance #5 in F#minor and Astor Piazollo's "Libertango", which involved reaching "under the hood" of the piano and plucking strings.

It was a generous program and everyone walked out smiling. We are left with great admiration for the members of this chorus who must have been extremely well rehearsed.

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HONORING MARILYN HORNE

Warren Jones, Martin Katz, Nicole Cabell, Susanna Phillips, Beste Kalender, Isabel Leonard, Marilyn Horne, Leonardo Capalbo, Russell Thomas, Lester Lynch, and Edward Parks

Music lovers from all over the world come to Carnegie Hall every January for The Song Continues. This year is Marilyn Horne's last year as artistic advisor; the celebration was a bittersweet one in which singers she has fostered heaped gratitude upon her but also shed some tears as well, as did members of the audience. Anyone who loves the art of the song owes a huge debt to Ms. Horne for going the full mile to see that this art form survives.

We ourselves have attended The Song Continues for the past 15 years at Carnegie Hall. Before then we heard her young singers at St. Bartholomew's Church and before that at the Kosciuszko Foundation. We have lost count of all the incredibly talented singers to whom she has introduced us. But we will be eternally grateful to her for her devoted service to the field.

For yesterday's celebration, eight splendid singers graced the stage of Zankel Hall and performed a program that only hints at the scope of art song; it held the audience spellbound for a good two hours, or should we say a wonderful two hours.

If there were one quality all the singers had in common it was the ability to inhabit a song and turn each one into what Renée Fleming, in her master class of the prior day, called a "3-minute opera". These singers were all storytellers and did not rely solely upon their vocal gifts to entertain us. Rather, they used their artistry to pull us into the world of the poet and that of the composer.

Opening the program was mezzo-soprano Beste Kalender who used facial expression and ample gesture to carry us to Reynaldo Hahn's Venice. She chose three selections from his Venezia. We loved the romantic "La barcheta" for its stunning vocalise and "Che peca!" for its wry humor. The songs were sung in Venetian dialect and delighted us thoroughly.

Leonardo Capalbo has always tantalized us with his garlic-infused tenor and yesterday he introduced us to a trio of songs by Pietro Mascagni; we always love hearing songs that have been undeservedly neglected on concert programs. There was a lovely pianissimo in "Serenata" which was matched by pianistic delicacy on the part of the peerless Warren Jones whose artistry supported the four singers on the first half of the program. Mr. Capalbo invested the songs with dynamic variety.

Baritone Edward Parks, whose performance of the role of Steve Jobs in The (R)evolution of Steve Jobs was so completely honest and believable, performed three songs by Charles Ives. "In the Alley" is a wry look at an unrequited infatuation-- and a lot of fun. Not so much fun was "General William Booth Enters into Heaven" which made us feel as if we were missing something. "Berceuse", on the other hand, showed off the lovely soothing quality of his instrument.

Closing the first half of the program was the lovely Susanna Phillips whose soprano always gives us pleasure and whose interpretations are always spot on. She gave us three songs by Richard Strauss. "Muttertänderlei" is a cute song about an overly proud mother whose child is, of course, exceptional. The passionate "Cäcilie" was given an enthusiastic reading, but it was "Morgen" that brought us to our knees. Mr. Jones took a slower tempo than usual and played with an ethereal delicacy that created an otherworldly mood, causing us to question our assumptions about the text. We love an interpretation that shows us something new! Ms. Phillips' singing sustained the mood.

For the second half of the program, Martin Katz took over as collaborative pianist. Soprano Nicole Cabell chose three selections by three different composers to show off three different styles. "Del cabello más sutil" is perfumed with sensuousness and comes from Fernando Obradors' Canciones clasicas españolas; it contains some marvelous melismatic writing, beautifully negotiated by Ms. Cabell. Henri Duparc's "Chanson triste" created a tender mood, and Ricky Ian Gordon's "Joy" gave the singer an opportunity to be more expansive. Ms. Cabell shows a deep understanding of what she is singing about.

Lester Lynch has a big baritonal sound that we almost called baronial. There is so much power there that Mr. Katz could pull out all the stops without holding back. The voice is well suited to Schubert's "Gruppe aus dem Tartarus" and to Barber's "I hear an army"; but we preferred the tenderness he exhibited in Brahm's "Wie bist du, meine Königen", a lovely romantic tribute.

Tenor Russell Thomas opened his set with Stefano Donaudy's familiar ode "O del mio amato ben", causing us to look at his bio to make sure he is a tenor. It sounded great but not nearly as tenorial as his performance of two Tosti songs which followed--"Non t'amo più" and "L'alba sepàra dalla luce l'ombra"--a memorable performance indeed.

The program ended with the matchless mezzo-soprano Isabel Leonard singing a heartfelt rendition of "Take Care of This House" from Bernstein's 1600 Pennsylvania Avenue.  Of course the song is about The White House which could use some care right now, but we also took it to mean caring for Carnegie Hall, our cultural house.  She also sang "Greeting" from Arias and Barcarolles but when she got to the final selection "Somewhere" from West Side Story, she asked the audience to sing along with her--a capella!

There were two notable encores: Warren Jones dedicated his amazing arrangement of Stephen Foster's "Beautiful Dreamer" (one of her signature songs) to Ms. Horne and the entire cast raised their voices in tribute. We have never appreciated the song so dearly!

Mr. Katz also contributed an encore, Richard Strauss' "Zueignung".

We do not want to leave our readers thinking that Ms. Horne is retiring or anything that unbelievable.  Although Renée Fleming will take over the helm of The Marilyn Horne Legacy at Carnegie Hall, Ms. Horne will likely stay involved. Similarly, Ms. Horne is retiring as director of the voice program at Music Academy of the West but will stay involved there as well. When you are that large and generous a personality, you just can't stop giving!

(c) meche kroop

EXOTIC EROTIC PEARL

Nicole Cabell

Christopher Magiera

Eric Cutler

Could one ask for anything more than gorgeous music, beautifully conducted and sung in the service of  bringing to life the never ending conflict between individual desire and community duty?  It's a problem that exists for every generation and we are glad of it since it provides countless opera plots.  Composed by Georges Bizet when he was only 24 years old, the setting for this conflict is exotic, erotic and totally captivating.  As usual, the Santa Fe Opera got everything right in their presentation of The Pearl Fishers.

We are in the last third of the 19th c. on the island formerly known as Ceylon; we are among a community of pearl fishers whose lives are fraught with peril and whose mentality is given over to superstition.  We have two men in love with the same woman who returns the love of one of them.  Zurga the head fisherman and Nadir have close bonds of brotherhood and have vowed to give up their love of Leila to preserve their friendship.  Zurga has gotten himself chosen to lead the group, a power play that perhaps consoles him for the loss of his love.  Nadir has chosen to live in the woods, but as the opera opens he has returned to his community.  Leila has been selected to be a priestess of Brahma whose role it is to pray and remain chaste to guarantee the safety of this fragile community. If she adheres to her vows of chastity she will be given the most valuable pearl; if she fails, she will be put to death.  Nadir discovers her behind her veil and importunes her until her resistance is nearly overcome.  They are discovered and threatened with the most extreme punishment.  To learn how this plot evades the customary deaths of the star couple, you will have to take a ride up to the Santa Fe Opera to find out.  You won't be disappointed.

Exotically beautiful Nicole Cabell, heard to great advantage a few days earlier at the Santa Fe Concert Association recital, carried the role of Leila with consummate artistry.  Her clarion soprano offered intense feeling supported by admirably precise coloratura technique; her trillssounded like silvery water.  Tenor Eric Cutler, well remembered from his Santa Fe Opera debut as Don Giovanni made a compelling Nadir with his fluid legato and right-on acting, letting the audience know just how conflicted he was by his lust/love for Leila and his brotherly love/loyalty toward Zurga. His "Je crois entendre encore" hit the goosebump level.   Christopher Magiera used his sturdy baritone to great advantage as Zurga, showing the audience just how a man disappointed in romance can seek power as a substitute.  His ultimate sacrifice is heartbreaking.  French diction was so excellent that the titles scarcely needed to be consulted.

Bizet's youthful music is always tuneful, at times evincing a delicate filigree and at other times raw passion.  One readily appreciates the origins from which sprang his Carmen, many years later.  We are only 15 minutes into the piece when we are treated to the gorgeous tenor/baritone duet "Au fond du temple saint" and this heart-stopping melody recurs several times during the all-too-short evening.  But perhaps one shouldn't complain about the brevity since the action moves forward without ceasing and gives a sense of unity and conciseness.  As conducted by Maestro Emmanuel Villaume we hear every motive as it skips around the orchestra.  Particularly notable were some woodwind solos and some lovely harp playing.

Director Lee Blakeley and scenic designer Jean-Marc Puisssant created a production that was straightforward dramatically but a bit puzzling.  We wondered about the vermeil picture frame bisecting the stage on an angle; was this meant to suggest that we were watching a storybook event?  When the erring couple was apprehended the frame was lowered, perhaps meant to be an earthquake that punished them for their violation of vows.  Were the European looking elements at stage right meant to refer to a British presence during the Raj?

We loved the costume design of Brigitte Reiffenstuel.  Leila's exotic costumes were set off by the dull-colored but interestingly styled costumes of the fishermen and their women.  That the chorus of apprentices sang so well under the directorship of Susanne Sheston was another plus in this production.  Each one seemed to have an individual personality and appearance.  In sum, it was another stellar evening at the Santa Fe Opera.  It made us wonder why this gorgeous opera is so rarely performed.  It deserves better.

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NICOLE CABELLl--from the heart

It is always evident when a singer communicates from the heart.  Such was the case at The Santa Fe Concert Association's Festival of Song when glamorous soprano Nicole Cabell gave a warm interpretation of two Ricky Ian Gordon song cycles accompanied by Mr. Gordon himself at the piano, both artists deeply immersed in both their artistry and their abilities to communicate with the audience.  The poetry, chosen by Mr. Gordon, was by African-American poet Langston Hughes, remarkable for its conciseness and (!) lines that rhymed, which was graceful to the ear.  The moods vary from sorrow to exaltation and Ms. Cabell's ability to convey this variety was remarkable.  We particularly admired "In the Time of Silver Rain" which might do for rain what Beethoven's sonata did for moonlight.  The romanticism of "Love Song for Antonia" was followed by the bouncy "Port Town" which involved the seduction of a sailor boy.  "Song for a Dark Girl" conveyed the tragedy of a lynching.  And that was only the first cycle.

The second cycle, entitled "Genius Child", was introduced by Mr. Gordon with a quote about how geniuses can be and often are misunderstood.  We particularly liked "Genius Child" and "To Be Somebody" about the dreams of children.  The sadness of "Troubled Woman" and "Strange Hurt" let us know about some female suffering.  To end on a more sanguine note, we heard the delightful "Joy".

The enthusiasm and ambition of Joseph Illick, Executive and Artistic Director of the Santa Fe Concert Association, knows no bounds and this series "Festival of Song" will be repeated next summer, with even more performances-- if he and we have anything to say about it.  We regret having missed what we heard was a brilliant recital by soprano Leah Crocetto last Sunday and deplore the fact that our travel schedule will prevent us from hearing a recital by the much sought after bass-baritone Luca Pisaroni.  But that shouldn't stop YOU from being there!  Mr. P.  will be singing lieder by Schubert and Liszt as well as canzone from Rossini.


Let it be noted that the SFCA also brought half a dozen artists from the New York City Ballet to Santa Fe for a Festival of Dance.  Santa Fe is surely the place to be in the summer!


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