OPERA NEW YORK WITH SUSAN GRAHAM

Mezzo-soprano Susan Graham as Carmen

Once again The Metropolitan Room played host to Opera New York, which has been creating quite a sensation with their presentation of opera in a cabaret environment, one of the many avenues available to bring opera to a wider audience.

The brainchild of Artistic Director Judith Fredricks (who also directs the scenes), these evenings draw a wider audience every time they perform.  Last night's event "Where Opera and Cabaret Collide!" was part of The First International Cabaret Festival. That the audience was having a whale of a good time was made evident by the thunderous applause, whoops and hollers which followed each number, as well as by the rapt silence during the performances. Did we mention that it was "standing room only"?

The evening was made extra special by the presence of world renowned mezzo-soprano Susan Graham, fresh from her triumphs at Houston Grand Opera. Ms. Graham always uses her gifts well and amplifies them with her larger-than-life personality. Last night we heard the Habanera from Bizet's Carmen as we have never heard it before. Without sets or costumes Ms. Graham created the personality of this dangerous Spanish temptress from the center outward. When she sang the word "l'amour" she seemed to be not only tasting the vowel but savoring it.

The remainder of the program, emceed by Jason Graae, hewed closely to the prior programs with a stunning addition.  Soprano Veronica Loiacono performed "De España Venga" from Pablo Luna's zarzuela, El Niño Judio.  Readers may recall how beloved zarzuela is to us and to say we were thrilled would be an understatement.

Perhaps because it was a festival, perhaps due to the artists getting more comfortable with the cabaret setting, or perhaps because of the presence of Ms. Graham, everyone's performances seemed to be even sharper than ever before.

Tenor Edgar Jaramillo's "Federico's Lament" from Cilea's L'Arlesianna was even more heart-wrenching than before (with oboe accompaniment from Mr, Graae), as was tenor Percy Martinez' "Vesti la giubba" from Leoncavallo's Pagliacci. We felt feelings we had never felt before during prior hearings.

Soprano Elena Heimur was even more extravagant in "Musetta's Waltz" from Puccini's La Bohème and mezzo-soprano Jodi Karem was even more seductive as Maddalena in the quartet from Verdi's Rigoletto.

Baritone Roberto Borgatti swaggered magnificently and wandered the aisles of The Metropolitan Room impressing the ladies as he leaned into the "Toreador Song" from Carmen, with just the right amount of bullfighter arrogance.

Music Director Michael Pilafian handled the piano accompaniment to perfection.

It was a splendid evening and no one wanted it to end to make room for the late show. We are sure they will return for more on March 9th. There seems to be a growing demand for opera up close and personal, especially when performed so well.

(c) meche kroop

OPERA NEW YORK GOES CABARET

Robert Garner and Percy Martinez

We enjoyed Tuesday night's cabaret evening at the Metropolitan Room so much that we returned on Thursday.  The program was largely the same and we refer you to the previous review for details. Here we will focus on the new addition to the program, baritone Robert Garner whom we enjoyed so much in Amore Opera's La Bohème (review archived).

We never tire of Figaro's aria from Rossini's Il barbiere di Siviglia. Mr. Garner filled it with color and personality, especially limning the contrast between the services Figaro provides for "le donnette" and those he provides for "i cavalieri". It was an expansive delivery and the rapid patter passages were delivered with panache. He excelled as Rigoletto in the tragic final quartet from Verdi's masterpiece.

From Bizet's Les pecheurs du perles, he sang "Au fond du temple saint", a duet with tenor Percy Martinez; it was a thing of beauty. He has a special flair for French and a special affection for Bizet, as heard in his performance of the Toreador Song from Carmen.  He had just the right self-important air and used his red jacket as a cape.  The low notes were strong and sturdy.

We hope he performs again with this terrific group of singers assembled by Judith Fredricks, Founder and Artistic Director of Opera New York.

Stay tuned for information on their appearance in a festival of cabaret on Feb. 20th. also at the Metropolitan Room.

(c) meche kroop

FROM THE MET TO THE METROPOLITAN

Veronica Loiacono, Elena Heimur, Roberto Borgatti, and Jodi Karem

We didn't expect opera to go so well in a cabaret setting but last night was our second such adventure and we are happy to report that in the right hands it goes very well.  The right hands belong to impressario/singer/teacher/coach Judith Fredricks who created the show at the Metropolitan Room on W. 22nd St. By the time you get to the end of the review, you will probably want to attend the show on Thursday evening if you are lucky enough to snag a table.

The room was packed last night and the audience was as good as the singers. In spite of the imbibing of alcoholic libations, the audience was absolutely silent until the end of each aria (or duet or ensemble), bursting into wild whoops and applause at the appropriate time.  We do not know whether the audience comprised seasoned opera goers searching for more intimacy of presentation or cabaret folks new to opera.

Host for the evening was Broadway's own Jason Graae who introduced each number and told a bit of the backstory. He also sang the role of Papageno in the second act duet from Mozart's Magic Flute (in English) with lovely soprano Veronica Loiacono as his Papagena.  Moreover, he accompanied several pieces on the oboe! His introductory number was "Wilkommen! Bienvenu!" from Cabaret.

If there were any skeptics in the audience they must have been immediately won over by "Sous le dome épais" (The Flower Song) from Leo Delibes' Lakme. Soprano Elena Heimur and mezzo Jodi Karem had lovely chemistry together (eye contact!) and balanced their voices perfectly in Delibes' winning harmonies.

Tenor Edgar Jaramillo gave a moving account of "Federico's Lament" from Cilea's L'Arlesiana that brought us to the edge of tears.

Ms. Loiacono has just the right coquettish looks and coloratura skills to be a most convincing Rosina in Rossini's Il Barbiere di Siviglia. Her performance of "Una voce poco fa" included wild flights of fioritura that we so love.

Ms. Karem's dusky mezzo could have seduced tenor Percy Martinez' Samson even if she were not as beautiful as she is.  This Delilah was a double threat as she sang "Mon coeur s'ouvre a ta voix", from the Saint-Saëns opera.

Ms. Heimur's generous soprano filled up "Chi il bel sogno di Doretta" from Puccini's La Rondine and did so in a most moving manner.

The final tragic quartet from Verdi's Rigoletto was well handled by Ms. Loiacono as the doomed Gilda, baritone Roberto Borgatti as the eponymous Rigoletto, Ms. Karem as Maddalena, and (surprise!) the very sweet voiced Mr. Jaramillo playing the wicked two-timing Duke. It's a big challenge for him to portray a slimeball!

Mr. Martinez distinguished himself as Canio in Leoncavallo's Pagliacci. His "Vesti la giubba" was deeply moving and succeeded in evoking sympathy for the character.

The second scene of Puccini's La Bohème involves Musetta making a big show of herself in "Quando m'en vo" while the other Bohemians are sitting at a table. The scene was well staged by Ms. Fredricks and superbly sung by Ms. Heimur who let out all the stops. Mr. Graae hammed it up as her elderly admirer.

Mr. Martinez and Mr. Borgatti tackled "Si, pel ciel" from Verdi's Otello and nailed it. Mr. Borgatti had to trick Mr. Martinez into believing that his beloved Desdemona was unfaithful.  Another slimeball role, but well done.

A scene from Bizet's Carmen starred Mr. Borgatti in the Toreador song and Ms. Karem as Carmen. Ms. Heimur and Ms. Loiacono (as Mercedes and Frasquita) flirted madly with him. Ms. Karem's Carmen was as superbly seductive as her Delilah and she accompanied herself on the castanets in the "Gypsy Song".  

We were totally satisfied with the evening but there was one more aria coming--Mr. Jaramillo gave us a fine Calaf singing "Nessun dorma" from Puccini's Turandot, and drove the audience wild.  He has a generosity of spirit when he sings and can achieve volume at the upper end of the register without tightening his throat.  A real pleasure to hear!

Accompanist and Music Director for the evening was Michael Pilafian who got everything just right.

We have heard all of these singers before and they just keep getting better and better. Thursday's program will have someone new on board and some alterations in the program. If we can shift things around we will go again. Opera and cabaret could be a match made in heaven. Exploring new venues and new audiences need never involve a sacrifice of quality.

(c) meche kroop

OPERA, ALL OPERA, AND NOTHING BUT OPERA

New York Lyric Opera Theatre

Last night we attended an Opera Gala at Weill Recital Hall. We heard 32 singers in 16 scenes. Our ears are ringing with so much beautiful music, conducted from the piano by Maestro Richard Cordova, whom we well remember from Little Opera Theater's presentation of Carlisle Floyd's Slow Dusk.  Last night he did not have an orchestra at his disposal but he made the piano sound like one!

If General/Artistic Director Elizabeth Heuermann was responsible for directing, we would like to point out that several of the scenes showed the result of a creative hand. Ms. Heuermann apparently put the show together and also sang the role of Adele in the final scene comprising most of Act II of Johann Strauss' Die Fledermaus.

It is this final scene that sticks in our mind.  It was festive; it was well sung; it was gorgeously costumed by Mori Lee with performers wearing masks to match their gem-colored gowns. Not only did Ms. Heuermann make a fine Adele but soprano Jessica Sandige was a standout as Rosalinde, pretending to be an Hungarian Countess.  This "Czárás" was fortuitously and appropriately sung in German--appropriate because of the humorous line "Of course I'm Hungarian, I just sang in German".

The rest of the scene was sung in English, perhaps not our preference, but the translation was a good one and the English was well enunciated, something we do not take for granted. Mezzo soprano Allison Waggener, remembered from Dell'Arte Opera Ensemble, nicely handled the travesti role of Prince Orlofsky, host of the costume ball.

Thinking about the rest of the evening, there were more highlights than we have room to write about but we will try to cover at least a few.

We have previously heard Ms. Sandige only in small roles so it delighted us to hear her twice last night--not only in the Strauss but also as Cio-Cio San singing "Un bel di" from Puccini's Madama Butterfly. Without benefit of costume, wig, makeup, or scenery, her clear bright soprano did the work, expressing all the love, longing, and false hope that we would wish for. Variety of tempi and dynamics contributed to the performance.

Tenor Percy Martinez, whom we have reviewed many times, did justice to every role he took on and managed to color each role differently. He made a fine Rodolfo with Jennifer Smith as his Violetta in "Libiamo" from Verdi's La Traviata. (We might have appreciated her performance more if she had not been holding her score.  It was distracting.)

He portrayed another young lover in Puccini's La Bohéme, trying to break up with the seriously ill Mimi (Beier Zhao) in Act III. In stunning contrast with these tender lovers were Clara Lisle as Musetta and Michael Binkowski as Marcello--one of the scenes in which we admired the direction.

Again Mr. Martinez succeeded in portraying the very different lover Pinkerton, a far more complex character. His Cio-Cio San, Beier Zhao, had the advantage of appearing Asian but somehow looked worried and anxious during the love duet.

Another artist who impressed us was baritone José Pietri-Coimbre who enlivened every scene he was in, not only with his fine voice but with his willingness to inhabit the role.  From Mozart's Die Zauberflöte, his Papageno was pure delight and his Papagena, Holly Sparlin Sargeant, was a perfect match, showing evidence of a music theater background.

He was a perfectly slimy Don Giovani seducing Zerlina. The effect was heightened by the fact that his scene partner, 16-year-old Gwyneth Campbell, was so petite and innocent looking.

In the quartet "Non ti fidar, o misera" he continued his fine performance with excellent contributions from the Donna Anna of Shauna McCarthy, the Donna Elvira of Iris Prcic, and the Don Ottavio of John Ramseyer. It was totally convincing and the voices blended beautifully.

Another very affecting piece was the final scene of Richard Strauss' Der Rosenkavalier. Jennifer Noel's large soprano was just right for the Marschallin. Victoria Graves made a splendid Octavian and Elise Mark was excellent as the young Sophie. Baritone Michael Binkowski appeared briefly as Sophie's father Faninal and it was a bittersweet moment when the Marschallin walked offstage with him. The contributions from Maestro Cordova's piano were extensive.

Elise Mark also made her mark as Manon in "Ce bruit de l'or" in Massenet's opera of the same name.

Coloratura soprano Madison Marie McIntosh lent her finely focused instrument to "Dov 'è Lucia" from Donizetti's Lucia di Lammermoor. We have reviewed Ms. McIntosh previously and are watching her professional development with interest. We hope we will soon hear her do the mad scene!

It is quite a challenge to create an opera scene without orchestra, costumes, sets and makeup but most of the scenes succeeded admirably. There were several other singers on board whom we hope to have a chance to review in the future.

(c) meche kroop

GOOD EVENING OPERA, MEET CABARET

Jason Graae, Veronica Loiacono, Roberto Borgatti, Elena Heimur, Edgar Jaramillo, Jodi Karem, Judith Fredricks, and Percy Martinez

It's a rather new concept--bringing opera out of the concert halls and into different venues, bringing it to people who may not have been exposed to opera or who have been intimidated by it (really??).  Judith Fredricks has been producing and directing evenings of opera arias in an off-Broadway studio with table seating and wine service. But, it was time to try something on a larger scale--opera in a nightclub.

Would it work?  Would the audience drink too much and get loud and drown out the singers? We had our anticipatory misgivings. We well remember our evenings of opera arias at Caffe Taci where the owner worked the room asking people to quiet down.

Our anxieties were for nothing.  Last night's performance at the Metropolitan Room went astonishingly well. Perhaps it was the excellence of the singers but the room was totally silent during the performances until the audience burst into wild applause with shouts of "Bravo!" and "Brava!". Ms. Fredricks gamble paid off in spades.

Host and narrator for the evening was the congenial and multi-talented Broadway star Jason Graae who explained what each opera was about and what the singer was singing about. Thankfully, no amplification was needed or used; Michael Fennelly accompanied on the piano with some surprising contributions from an oboe, played by the versatile Mr. Graae.

The arias and duets were well chosen for their familiarity, providing a sense of comfort for those in the audience who were on the newbie side. The six singers were well known to us and impressed us with the way they adapted to the new situation. They seemed motivated to outdo themselves by singing the best we have ever heard them.

Fast-rising tenor Edgar Jaramillo wowed the audience with "E lucevan le stelle" from Puccini's Tosca. His voice and gesture painted a vivid picture of a life-loving artist recalling the most sensual experiences of his life as he faces his imminent death. We have rarely felt that aria as intensely.

Mr. Jaramillo tackles every aria with the same involvement, as we observed in his "Nessun Dorma" from Puccini's Turandot.

Soprano Veronica Loiacono made a pitiful plea to her poppa in "O mio babbino caro" from Puccini's Gianni Schicchi. She next appeared as Gilda in the final act quartet from Verdi's Rigoletto with baritone Roberto Borgatti as the titular character. (No, we don't suspect Ms. Loiacono of having Daddy issues.)

Mr. Jaramillo again stood out as the licentious Duke with his latest conquest Maddalena sung by mezzo-soprano Jodi Karem.

Ms. Karem appeared in a couple temptress roles and certainly has the appearance and seductive color in her voice to carry it off. She was superb as Delilah seducing Samson in "Mon coeur s'ouvre a ta voix" by Saint-Saens. More seduction came in the person of Carmen manipulating Don Jose (finely sung by tenor Percy Martinez).  Of course he couldn't resist!

Mr. Martinez shone last night in several other roles as well. His "Vesti la giubba" from Leoncavallo's Pagliacci showed an original interpretation that never seemed copied from anyone else's and was, therefore, more moving. He was also fine as Otello in his duet with Mr. Borgatti as the treacherous Iago in "Si, pel ciel" from Verdi's opera of the same name.

Mr. Borgatti found his perfect role as Escamillo, manifesting just the right amount of vocal and dramatic self-confidence in the Toreador song from Bizet's Carmen. He strutted around the small stage swirling his jacket like a cape.

Soprano Elena Heimur showed her versatility in three very different roles. First as Lakme in the famous duet "Sous le dome epais" from the eponymous opera by Delibes (with Ms. Karem); then in "Ch'il bel sogno" from Puccini's La Rondine; and finally as Musetta singing her famous waltz from Puccini's La Boheme, with Mimi, Rodolfo and Marcello mugging in the background.

The finale of the program was the "Libiamo" from Verdi's La Traviata in which the entire ensemble took part. We join them in toasting one of the new directions opera is taking. Thanks Ms. Fredricks, thanks Mr. Graae, and thanks Metropolitan Room for a revolutionary evening. We've moved from the Metropolitan Opera to the Metropolitan Room.

(c) meche kroop

MUSICA DEL CORAZON

Veronica Loiacono, Jodi Karem, Judith Fredricks, Edgar Jaramillo, Percy Martinez and Michael Fennelly at the piano


One could not imagine a better way to end a summer weekend than celebrating the joys of Spanish music with impresario Judith Fredricks who always comes up with an interesting program and the finest of artists to perform it. The theme of last night's recital was music from the Spanish world--not just from Spain but from Latin America as well.

The majority of the program was carried by soprano Veronica Loiacono who has all the Latin verve and passion to put the songs across.  Regular readers will recall our affection for zarzuela and Ms. Loiacono gave satisfaction on all accounts. Not only does she have a great instrument under exquisite control but the stylish moves necessary to convey stories of love desired, love won, love lost, or love regained.

We enjoyed "Cancion de la Paloma" from Barbieri's El Barberillo de lavapies, a zarzuela we would dearly love to hear in its entirety. On a quieter note, Guastavino's "La rosa y el sauce" has a tender tune and a depth of feeling that smacks of lamentation. The song ends in a vocalise that allowed one to appreciate Ms. Loiacono's purity of sound.

The spirited "De España vengo" from Luna's El Niño Judio scored a big hit, and the soprano's performance of duets with tenor Percy Martinez was impressive in "Torero quiero ser" from Penella's El Gato montés as well as in "El día que me quieras" from the  20th c. tango by Carlos Gardel and Alfredo Le Pera.

Mr. Martinez, a full throated and expansive singer, delighted the audience with his solos as well; "Raquel" from Guerrero's El huésped del sevillano and, even better, the famous "No puede ser" from Sorozabal's La tabernera del puerto. The latter permitted Mr. Martinez to show different vocal colors in the bitter A section and the contrasting reflective B section. He also sang the romantic "Júrame" by María Mendez Grever, Mexico's first famous female composer.  Another excellent selection was "Hasta la guitarra llora" by Ayarza de Morales.

The knockout tenor Edgar Jaramillo (recently reviewed as Mario Cavaradossi in Chelsea Opera's production of Puccini's Tosca) charmed us with the old standard "Cielito Lindo" by Mendoza y Cortes.  Mr. Jaramillo instinctively knows how to build a song to a stunning climax and how to communicate every emotion.

Not only is his voice delightful to the ear but his emotions come right from the heart and produce a very special feel in the listener. Just listen to the gentleness of  "Por ti sere" by Lovland and Graham.  One could just melt!  It took us about 10 seconds to realize that "A mi manera" was a Spanish translation of "I Did it My Way", which sounds good in any language.

Pianist Michael Fennelly not only accompanied with his customary skill but also got to show off some impressive pianistic skills in a couple of solos--Vladimir Horowitz' frenzied "Carmen Variations" (wonderfully played but not adding much to our love of the Bizet opera) and, far more appealing, the first part of "Goyescas", composed by  Enrique Granados' when he was only 25.

And now we come to the best part! The multi-talented Ms. Loiacono introduced an opera entitled Cartas Marcadas and the aforementioned trio of singers were joined by mezzo-soprano Jodi Karem for a performance of selections therefrom; the opera actually had a collective of four composers of which Ms. Loiacono is one. It's about time we heard music with a singable vocal line and, for this, we believe her to be responsible.

Mr. Fennelly played the overture and several selections followed. The plot sounds intriguing--a philosophical game of immortality played like poker. Judging by what we heard last night, we believe a full production of Cartas Marcadas would be very well received by the opera community. Fascinating plot! Singable tunes! Is there an adventuresome small company out there available to listen to the music and read the libretto? We surely hope so.

The evening ended with the group performing Agustín Lara's "Granada". Ms. Fredricks' events are casual--held cabaret style at tables with wine served. We would be remiss if we failed to mention a very special event at the Metropolitan Room on October 5th at 7:00. There will be special surprises and an interesting twist. Save the date and we will tell more later.

(c) meche kroop

SINGERS WITH SOUL

Percy Martinez, Veronica Loiacono, Therese Panicali, Judith Fredricks, Michael Fennelly, Jodi Karem, Edgar Jaramillo, Roberto Borgatti, Chaz'men Williams-Ali

Summer has arrived and it is a good time to enjoy our favorite pastimes in less formal settings. Opera New York, founded by diva/director/teacher/coach/impressario Judith Fredricks has a program called "Opera Goes to the Cabaret" in which emerging artists, coached by Ms. Fredricks and accompanied by the amazingly versatile pianist Michael Fennelly, have a chance to show their stuff in an intimate studio environment. The audience has a chance to relax at table seating and sip wine while enjoying the delicious fruits of the hard work of these artists.

Ms. Fredricks has a knack for finding promising talent and bringing out the best in them. What they all have in common is that they sing from the heart--something which Ms. Fredricks emphasizes in her coaching. It's quite a challenge to convey the sense of an aria extracted from an opera and isolated from all staging and costuming. The fact that we felt immersed in the opera when only a small piece was performed is evidence of the success of the approach. It's kind of an artistic hologram.

Take, for example, the terrific tenor Edgar Jaramillo who embodied all the joy of "Recondita armonia" and the painful final words of Mario Cavaradossi facing death in "E lucevan le stelle" from Puccini's Tosca. In the former we could see him comparing Tosca's eyes with those in the portrait he was painting and in the latter we could see the stars and inhale the fragrance of the night.  Now THAT"S acting. Add to that his warm rich voice and stress-free technique and there is a performance to remember. 

Furthermore, he "plays well with others" as witnessed by the stellar duet "O soave fanciulla" from Puccini's La Boheme that he sang with soprano Veronica Loiacono. This stunning soprano made a fine Mimi and also excelled in her solo "Song to the Moon" from Dvorak's Russalka. She was riveting in "Regnava nel silencio" from Donizetti's Lucia di Lammermoor, showing evidence of Lucia's instability. Her wild vocal flights in the cabaletta had us on the edge of our chair. This is a voice just made for bel canto.

Ms. Loiacono also performed the "Barcarolle" from Offenbach's Les Contes d'Hoffman with mezzo-soprano Jodi Karem and the two voices balanced perfectly. Ms. Karem appeared later as Delilah in the Saint-Saëns opera Samson et Delilah. Her rich voice was filled with the requisite seductiveness in "Mon coeur s'ouvre à ta voix". In "O don fatale" from Verdi's Don Carlo she successfully conveyed Princess Eboli's remorse.

We had the delightful opportunity to hear a very large voice that sounds great right now but also has room to expand further. Soprano Therese Panicali filled the room with sound in Turandot's aria "In questa reggia" from Puccini's Turandot, and again in "Dich teure Halle" from Wagner's Tannhaüser.

Baritone Roberto Borgatti performed the role of Rodrigo in "Per me giunto" from Verdi's Don Carlo and then dug into the role of Iago in Verdi's Otello; he expressed all of Iago's bitterness in "Credo" and then used his wonderful instrument to insinuate suspicions against Desdemona with Othello portrayed by tenor Percy Martinez in "Si, pel ciel".

Mr. Martinez had some excellent solos as well; he was very intense in "Vesti la giubba" from Leoncavallo's Pagliacci showing enough depth of feeling that we could almost forgive Canio for murdering Nedda. He also brought the program to a close with a larger-than-life "Nessun Dorma" from Puccini's Turandot.

There was yet another fine singer on the program--Chaz'men Williams-Ali whose finely textured tenor was just right for "Che gelida manina" from Puccini's La Boheme. We heard a lovely diminuendo and no strain on the high notes, nor did we hear any as he went from sweetness to arrogance in his excellent "La Donna è mobile" from Verdi's Rigoletto.

It is rare to hear a mixed program such as this one in which every singer was excellent. We are sure to be hearing much more of each of them. As if this bounty were insufficient we also heard the astonishing Michael Fennelly perform the virtuoso work "The Nun's Dance" from Meyerbeer's Robert le Diable. It was a frenzy of showmanship.

Ms. Fredricks closed the evening by sharing with the audience her interest in getting cabaret style opera into the schools and communities of the Boroughs of NYC. She has started a crowdfunding event at www.GoFundMe.com/OperaNewYork and we are passing the information along to YOU dear reader who may wish to make a small (or large) donation to make a difference in the cultural life of our town and to help educate young audiences to guarantee the future of opera.  Let's do it!

(c) meche kroop