THE EXTINCTIONIST

Philip Stoddard and Katherine Henley

(photo by Russ Rowland) 

 

                                                                                                
                Katherine Henley and Claire Leyden

                 (photo by Russ Rowland). 

  

How interesting that our companion for the evening (an opera singer) came up with the same thought as we did at the conclusion of Heartbeat Opera's production of The Extinctionist. "This would have made a great play!" Upon return home we took a look at the program for the first time, only to learn that the work was adapted from a play by Amanda Quaid!  She wrote the libretto for this work, which is the first commission ever made by this risk-taking company.

There seemed to be two interwoven themes at play. One was a woman's fear of bringing a child into a dying world and the other theme being marital discord over the issue of starting a family. Fortunately, the play is not polemic and leaves the audience to decide for themselves. Good theater makes us think. We have heard that art is a mirror that gets us to see ourselves plainly.

Th woman in the story is well performed by Katherine Henly and her ambivalence about pregnancy resulted in palpable anguish. That she is the only character who feels threatened by catastrophic global warming makes us focus on her dilemma. On the one hand, a potential child comes to her in her dreams and we learn that she and her best friend, winningly played by Claire Leyden, had long planned to get pregnant at the same time (as did two sisters of our acquaintance). On the other hand, she is terrified by what she alone perceives as the end of the world as we know it.

A meeting between the two women had our main character shocked and distanced by her friend's rapture at being pregnant. "How could anyone bring a child into the dying world?"--a thought we ourself have shared.

The woman and her husband had been trying to achieve pregnancy for some time and one gathers that they may have married believing that they both wanted the same thing. The husband, ( played by Philip Stoddard) is not exactly sympathetic.

The most awkward scene we have ever seen onstage was the woman being given a pelvic exam by her gynecologist and later given a diagnosis which we will not reveal. We do wish the production team had consulted  a genuine doctor as we found a couple inaccuracies in the dialogue and action; but perhaps the scenes with the physician (played by Eliam Ramos) were meant to be the woman's perception, rather than reality.

The work was well directed by Shade Ghaheri and Kate Noll's scenic design was stunning.  The couple's bedroom was tasteful and modern, indicating that they were financially comfortable. It occupied one side of the wide stage whilst the other side served at times as a living area and at others as a gynecologists examining room. Bare trees and dying plants were scattered about the stage.  Reza Behjat's lighting design subtly contributed to the mood of each scene  Projection design by Camilla Tassi was apt, as is seldom the case. Scenes of weather disasters served to remind us what stirred the woman's anxiety. Costume design by Haydee Zelideth and Asa Benally was apt. The child puppet, created by Afsaneh Aayani, was adorable.

So, Dear Reader, as drama it worked.  But, and this is a big but, this was billed as an opera. Was the music good? Yes, it was. Dan Schlosberg's original composition for piano, violin, viola, electric guitar and percussion would make an excellent curtain raiser on any symphonic program. 

Although the instrumentals served to heighten the mood, the vocal lines were entirely unmusical. We wondered how the cast managed to learn their parts. And to sing with such excellent diction! This is a common feature of contemporary operas and the reason that they are rarely seen a second time. We want to leave the opera humming a melody.  Our brains are programmed to want this!

It is likely that some of you, Dear Reader, will disagree with us and that is fine. We all attend live events for different reasons. We would just as soon have seen the play.

© meche kroop

A SEASONAL SEANCE FOR HALLOWEEN

Philip Stoddard, Cristina Marie Castro, Chantelle Grant, Jackson McKinnon, Kathleen Shelton, JoAnna Geffert,
and Joshua Miller

In 1946, commissioned by Columbia University, Gian Carlo Menotti composed the music and wrote the lyrics for a work entitled The Medium. Within a period of five years, it achieved a Broadway run, a television production, and a film.

It has been called an opera but, in our opinion, it comes across as a play with music. In its one hour duration, it has a great deal to say about deceit, gullibility, and abuse. As far as the "music" it is non-melodic, although there are three fine arias, two of which are for Monica and one for Madame Flora, her mother.

Although we have seen it before, the production we saw by City Lyric Opera hit all the right notes dramatically, thanks to Stage Director Mikhaela Mahoney who apparently included contributions from her excellent cast. Subtexts were revealed which were completely relevant to today's world.

The cast was uniformly excellent with Philip Stoddard portraying the mute Toby as a gangly adolescent whose mental faculties have not kept pace with his physical maturation. He conveyed so much with his face and gesture that speech would have been redundant.

As Monica, soprano Cristina Marie Castro invested her role with pathos and ambivalence. Clearly her abusive mother (Madame Flora) has brought her up with poor morality. She is obliged to serve her mother by fraudulently convincing Madame Flora's clients that she is the spirit of their departed children.

The one joy of her life is the presence of Toby whose backstory is only hinted at; he was rescued from the streets of Budapest and is mistreated by Madame Flora. The two youngsters are playmates but Monica cannot resist physicalizing their relationship in a way that confuses poor Toby.

Ms. Castro's shining soprano was lovely in "Monica's Waltz" and in the soothing song she sings to calm her anxious mother--"The Black Swan".

Chantelle Grant has an interesting texture to her mezzo-soprano instrument and was completely convincing as the duplicitous medium. Tampering with the world of spirits has its risks and Madame Flora becomes frightened when she hallucinates (or did she?) hands around her throat. She blames Toby for this, just as she blames him for everything.

She begins to decompensate and when her clients arrive for the next seance, she returns their money and tells them everything was a hoax. But they won't believe her and insist that their children actually contacted them! We see the same human flaw today in people who won't face the truth and clutch desperately to wishful thinking.

Ms. Grant takes to the bottle and sings a heart rending aria "Afraid? Am I afraid?" The three arias are in English and therefore less indicative of the quality of the voices than arias sung in Italian; but to our ears all the singers sounded just fine.

Aside from the three arias, all the other dialogue could be considered sprechstimme. No one would mind if the lines were spoken. As a matter of fact, since Music Director Jackson McKinnon played the piano with such an excess of volume, we would have preferred that, since many of the lines were drowned out. In all fairness, we were sitting very close to the piano, so if you attend one of the next four performances (and we hope you will) we advise sitting as far from the piano as possible.

The smaller roles were finely enacted. Kathleen Shelton portrayed Mrs. Nolan who wanted to communicate with her sixteen year old daughter. As the Gobineau's, JoAnna Geffert and Joshua Miller were convincing as a couple who had lost their two year old son and were satisfied just to hear him giggle. Of course it was Monica in both cases.

There were several small touches, which we will not reveal here, that made the production far more effective than it usually is. It was genuinely spooky and upsetting, which speaks well for the director and the performers. The casting was spot on. The roles of Monica and Madame Flora are double cast so you, dear reader, may see a performance that is slightly different from the one we saw. Still, we recognized the names of the second cast and can assure you that you won't be disappointed.

No one was credited for the set; it was simple but effective--a table, some chairs, a period lamp or two, and a neon sign advertising "Psychic". Dallas Estes' eerie lighting added to the experience. The uncredited costumes seemed period appropriate and fortunately did not call attention to themselves.

If you are unfamiliar with City Lyric Opera, let us fill you in. In a couple short years, Co-Founders and Co-Artistic Directors Kathleen Spencer and Megan Gillis have created a valuable niche for themselves with an artist-centric company that relies on an original vision to bring people into the world of opera with very modest ticket prices. Aside from their Mainstage Productions, they present Salons and WorkshOperas. These events must be experienced to be appreciated.

© meche kroop

NARCISSUS...ISSUS...ISSUS...ISSUS

Matteo Fiorani as Narcissus (photo by Lora Robertson for Satellite Collective)

Satellite Collective’s deconstruction of the myth of Echo and Narcissus, seen Friday night at the Brooklyn Academy of Music Fisher Center, lasted barely over an hour. The reconstruction performed by us and our companion lasted at least twice as long. If not totally comprehensible, the performance was engaging and held our attention by means of some lovely dancing. To watch Matteo Fiorani in the role of Narcissus was unadulterated pleasure and the lithe and lovely Michaela Rae Mann made a fine counterpart in the danced role of the nymph Echo. The dancing might accurately be called modern ballet but was informed by hints of modern dance. Kudos to choreographer Norbert De La Cruz III. 

But this collaborative work also incorporated music by Aaron Severini which was always interesting in its orchestration (violin, double bass, flute, clarinet, bassoon, trombone, and percussion) and well played by Shouthouse, under the baton of Alex Burtzos. At times raucous and dissonant, there were also lovely quiet passages and we particularly admired the percussion of Brandon Ilaw. 

Wasted were the vocal gifts of soprano Christine Taylor Price and baritone Philip Stoddard (who also directed) who were given vocal lines lacking in melodic structure and “lyrics” which were not always intelligible, in spite of, or because of, the amplification.  These two artists have magnificent voices which we have reviewed multiple times; their natural voices can sail over a full symphony orchestra. We urge anyone who thinks that's what opera singers sound like to attend a recital or a traditional opera.

Writer Kevin Draper seems to have interpreted the myth in his own idiosyncratic manner but we were reminded of how common in both literature and opera is the theme of a woman torn apart when her beloved is responsible for the death of a member of her family. Think of Romeo and Juliet and Forza del Destino.

It was not clear how Echo’s brother died or in what manner Narcissus was responsible. Projection designer Simon Harding showed us some cars in the street.  Did Echo’s brother die in a car crash? Was Narcissus driving? We could not answer.

There were projections of mechanical objects and robots. Did this refer to Narcissus being an unfeeling person? We cannot answer that either. What left no doubt in our mind was that two robots with a red spot in the chest area symbolized love, and that streams of light flowing from head to head and pelvis to pelvis symbolized mental and physical attraction.

In Ovid’s Metamorphosis, the goddess Juno curses Echo for her loquaciousness by dooming her to only repeat the words of others. Indeed, Ms. Price in her sparse dialogue did repeat Mr. Stoddard’s words. At the end, however, when Narcissus wants Echo to tell the police he is innocent, she refuses to echo his words. We felt free to interpret that our own way.

There were three other excellent dancers—Timothy Stickney, Joslin Vezeau, and Tara Youngman. In the first scene, they wore capes and seemed to be animals that Narcissus was hunting. Later on, lavender colored long skirts were worn but we could not figure out the meaning. We would have to ask Keiko Voltaire the Costume Designer. We definitely liked the many layered loincloth worn by Mr. Fiorani which highlighted his very fine figure; for this we require no explanation!

Artistic Director Kevin Draper wrote the piece and designed the production.  His Satellite Collective “works at the intersection of dance, visual art, and music” and has been doing so for eight years and garnering awards and citations from the Borough of Brooklyn.

Readers who attended the production are invited to comment below and to attempt to explain the meaning that has eluded us.

© meche kroop

SOMETHING TO CELEBRATE

Last night we celebrated the 25th Anniversary of NYFOS.  We celebrated the vast contributions made by Artistic Director Steven Blier and his Associate Michael Barrett.  We celebrated our broadening appreciation of different types of songs.  We celebrated the countless gifted singers and composers who contributed to the success of this venture over the past quarter of a century.

The woman sitting next to me had never heard of Mr. Blier until she read the touching tribute in the New York Times.  It was a "Where have I been all this time?" moment for her and we understood completely.  Mr. Blier's diligence, perseverance and fine ear for a fine song, combined with his delightful sense of humor have combined to create series of recitals (he doesn't like that word) or events that open our ears to the magnificence we may otherwise have overlooked.  His droll narration and his astute choice of artists continue to delight us.

From the rousing ragtime inflected opener "Play That Barbershop Chord" sung by James Martin to the beautifully sustained final note of "If It's Magic", sung by Darius De Haas, we heard a bountiful smorgasbord of songs in English, French, German, Portuguese and Spanish. 

We just about swooned over NYFOS' Comedian Harmonists, five of our favorite Juilliard guys (Kyle Bielfield, Miles Mykkanen, Nathan Haller, Philip Stoddard and Leo Radosavijevic) clearly inspired by the German Pre-WWII close harmony group, singing "Mein Onkel Bumba".  They not only sang but had the choreographic moves down pat.  Another favorite Juilliard singer, the divine Julia Bullock, began the stirring "I Wish I Knew How It Feels to Be Free" a capella .  Wow!

Not only were Mr. Blier's current students represented but dear friends and colleagues from the past joined in the fun, and fun it was!  Our favorite LMAO moment was Mary Testa singing "I'm Going to Make You Beautiful".  It was equally thrilling to hear William Bolcom play his own composition "Black Max" with Joan Morris singing; "The Bird on Nellie's Hat" from 1908 was another hoot, as was Andrew Garland's "He Never Did That Before".  Sari Gruber's humor was a bit more on the wry side in "Just Like a Man".

In a more serious vein, we enjoyed Joseph Kaiser in Kurt Weill's "Love Song" and even more in Korngold's "Sommer" with his impeccable German.  Amy Burton and John Musto were on hand and we liked the French riffs in "Le chaland qui passe" but especially Mr. Musto's own "Penelope's Song".  There was pathos to spare in a selection from the recently heard (Opera Hispanica) Maria de Buenos Aires sung with great depth of feeling by Jennifer Aylmer and Ricardo Herrera, whose final diminuendo was stunning.

Judy Kaye took a Gershwin tune "Nice Work If You Can Get It" for a nice spin and Mr. Martin used his powerful voice to read a poem by Langston Hughes "Harlem Sweeties" before singing W.C. Handy's "Harlem Blues".  Some Portuguese songs were performed by Ms. Aylmer, Mr. Herrera, Jeffrey Picón, and Jesse Blumberg (who was reviewed two days ago).  The tables were turned on Smokey Robinson's "My Guy", sung by a male quartet (Mr. Mykkanen, Scott Murphree , Mr. Blumberg and Adrian Rosas who had some low notes that would outdo the tuba).

At the conclusion, the audience jumped to its feet as one and expressed their enthusiasm.  Mr. Blier said he hopes to continue for another 25 years.  To this we say..."Cent'Anni!"

© meche kroop

A NIGHT AT THE OPERETTA

Steven Blier and Friends

Steven Blier's artistic generosity and modest demeanor hide the fact that he is a most successful impressario; indeed his many NYFOS evenings have broadened our own appreciation for works at the fringes of the opera world.  Last night at Henry's on the Upper West Side,  he put together a delightful program of songs from operettas both native and foreign, using the wealth of talent available at The Juilliard School.  One would never suspect that the singers are students; we have seen and heard professionals whose talents fall way short of what we heard last night.  The good news is that next season Henry's will play host to an entire NYFOS series!

Raquel González portrayed the femme fatale in "Ich schenk' mein Herz" from Carl Millöcker's Die Dubarry, captivating the audience as well as the five gentlemen of the cast.  Next she sang a duet with Nathan Haller from Lehár's "Die lustige Witwe".  Miles Mykkanen sang "There Isn't One Girl in the World for Me" from Jerome Kern's Sitting Pretty, subtly coloring his timbre and varying his vibrato to sound like a recording of that period.

"Je suis Lazuli" from Chabrier's L'Etoile was sung in the best of French from the very French Virginie Verrez.  Philip Stoddard donned a silly rajah's turban for the amusing "Chant birman" from Messager's  L'Amour masqué; what was most remarkable was that he gave the rajah's nonsense language a French accent.  Absolutely hilarious.

Rachel Wilson infused her zarzuela number with a pinch of sazón; Barbieri's El barberillo de Lavapiés is a zarzuela we long to hear in its entirety.  A splendid duet with some lightning fast patter was performed by Kyle Bielfield and Davone Tines from another zarzuela entitled La del manojo de rosas by Sorozábal; it involved a humorous dispute between two men courting the same woman.

Simone Easthope sang "The Amorous Goldfish" from Sidney Jones' The Geisha and Kyle Bielfield sang "Je suis gai" from Offenbach's La Belle Hélène, perhaps the most famous of the operettas on the program.  The seasonal duet "April Snow" from Romberg's Up in Central Park was sung by Rachel Wilson and Nathan Haller.  The program ended with John Philip Sousa's humorous "Against the Spanish Army" from El Capitan.  Somehow we never knew that the famous composer of marches wrote an operetta!

Throughout this generous evening, Mr. Blier narrated from the piano, letting the audience in on the plot and characters.  It was just one of those evenings that you wish would never end.  Sadly, it is over and these talented performers are leaving for summer programs elsewhere.  But Mr. Blier is not going anywhere and we will be enjoying his exploration into unusual vocal music tonight and on May 13th.  You should as well!

© meche kroop

A YOUNG ARTIST LAUNCHED

Philip Stoddard

Benedicte Jourdois

Baritone Philip Stoddard launched his graduation recital at Juilliard with Pietro Cimara's  1919 "Canto di Privavera"; a better opening could not be imagined, not only because of its seasonal suitability but because it showcased everything at which this young artist excels.  He has an eagerness to connect with his audience and to share his love of singing which makes everyone in the audience feel included.  He uses his voice well but also employs facial expression and body movement to convey the meaning of the text.  His Italian diction was so clear that the absence of translation was forgotten.  "Open your windows to the sun and your heart to love!"  YES!!!  We will!

 He continued his program of early 20th songs with selections from Ravel's Histoires naturelles.  With great onstage ease, Mr. Stoddard introduced them to the audience so that the uninitiated might listen for the characteristics of each animal in the piano preludes, which collaborative pianist Benedicte Jourdois played so well.  We heard the narcissistic peacock and the industrious cricket, the graceful swan and the striking Kingfisher; but it was the aggressive and scurrying guinea hen that we enjoyed the most.  We wished however that Mr. Stoddard's diction in French matched his superlative diction in Italian.  

We caannot comment on his diction in Russian since that is the one language we do not speak. We can say that it brought his sound forward to a really good place, was well enunciated and sounded musical.  We have been hearing lots of Rachmaninoff lately and have noticed that often the passionate piano parts overwhelm the singer; we were pleased to note here that Ms. Jourdois felt no need to do so and enjoyed the mutuality between singer and pianist.  The sound was lovely and we did wish that we understood Russian.  It was not difficult, however, to decipher the 1902 "Fate", our personal  favorite which Mr. Stoddard performed with great commitment.  Apparently Rachmaninoff was  paying tribute to Beethoven's Fifth Symphony.

Amongst the American songs, we particularly enjoyed Bolcom's "Murray the furrier" which allowed Mr. Stoddard's personality to shine.  Selections from Mahler's Rückert Lieder followed with every emotional nuance given its due.  We loved the pianissimo given to the the word "frbeen hearing lots of Rachmaninoff lately and have noticed that often the passionate piano parts overwhelm the singer; we were pleased to note here that Ms. Jourdois felt no need to do so and enjoyed the mutuality between singer and pianist.  The sound was lovely and we did wish that we understood Russian.  It was not difficult, however, to decipher the 1902 "Fate", our personal  favorite which Mr. Stoddard performed with great commitment.  Apparently Rachmaninoff was  paying tribute to Beethoven's Fifth Symphony.

Amongst the American songs, we particularly enjoyed Bolcom's "Murray the furrier" which allowed Mr. Stoddard's personality to shine.  Selections from Mahler's Rückert Lieder followed with every emotional nuance given its due.  We loved the pianissimo given to the the word "frühling" in "Liebst du um Schönheit"; it was one of those special moments.

As encore, Mr. Stoddard sang "A simple song" from Bernstein's Mass.  We have not said anything yet about his voice; it is a fine instrument but it is the singer's artistry and musicality that gained our attention.  Still in the earliest stage of his career, we trust it will be launched with the same success as the opening of this recital.  We are looking forward to hearing more from this promising young artistartist.artist                                                                                                        © mec

As encore, Mr. Stoddard sang "A simple soPhilip Stoddard
Benedicte Jourdois

Baritone Philip Stoddard launched his graduation recital at Juilliard with Pietro Cimara's  1919 "Canto di Privavera"; a better opening could not be imagined, not only because of its seasonal suitability but because it showcased everything at which this young artist excels.  He has an eagerness to connect with his audience and to share his love of singing which makes everyone in the audience feel included.  He uses his voice well but also employs facial expression and body movement to convey the meaning of the text.  His Italian diction was so clear that the absence of translation was forgotten.  "Open your windows to the sun and your heart to love!"  YES!!!  We will!

 He continued his program of early 20th songs with selections from Ravel's Histoires naturelles.  With great onstage ease, Mr. Stoddard introduced them to the audience so that the uninitiated might listen for the characteristics of each animal in the piano preludes, which collaborative pianist Benedicte Jourdois played so well.  We heard the narcissistic peacock and the industrious cricket, the graceful swan and the striking Kingfisher; but it was the aggressive and scurrying guinea hen that we enjoyed the most.  We wished however that Mr. Stoddard's diction in French matched his superlative diction in Italian. 


We caannot comment on his diction in Russian since that is the one language we do not speak. We can say that it brought his sound forward to a really good place, was well enunciated and sounded musical.  We have been hearing lots of Rachmaninoff lately and have noticed that often the passionate piano parts overwhelm the singer; we were pleased to note here that Ms. Jourdois felt no need to do so and enjoyed the mutuality between singer and pianist.  The sound was lovely and we did wish that we understood Russian.  It was not difficult, however, to decipher the 1902 "Fate", our personal  favorite which Mr. Stoddard performed with great commitment.  Apparently Rachmaninoff was  paying tribute to Beethoven's Fifth Symphony.

Amongst the American songs, we particularly enjoyed Bolcom's "Murray the furrier" which allowed Mr. Stoddard's personality to shine.  Selections from Mahler's Rückert Lieder followed with every emotional nuance given its due.  We loved the pianissimo given to the the word "frbeen hearing lots of Rachmaninoff lately and have noticed that often the passionate piano parts overwhelm the singer; we were pleased to note here that Ms. Jourdois felt no need to do so and enjoyed the mutuality between singer and pianist.  The sound was lovely and we did wish that we understood Russian.  It was not difficult, however, to decipher the 1902 "Fate", our personal  favorite which Mr. Stoddard performed with great commitment.  Apparently Rachmaninoff was  paying tribute to Beethoven's Fifth Symphony.

Amongst the American songs, we particularly enjoyed Bolcom's "Murray the furrier" which allowed Mr. Stoddard's personality to shine.  Selections from Mahler's Rückert Lieder followed with every emotional nuance given its due.  We loved the pianissimo given to the the word "frühling" in "Liebst du um Schönheit"; it was one of those special moments.

As encore, Mr. Stoddard sang "A simple song" from Bernstein's Mass.  We have not said anything yet about his voice; it is a fine instrument but it is the singer's artistry and musicality that gained our attention.  Still in the earliest stage of his career, we trust it will be launched with the same success as the opening of this recital.  We are looking forward to hearing more from this promising young artistartist.artist ng" from Bernstein's Mass.  We have not said anything yet about his voice; it is a fine instrument but it is the singer's artistry and musicality that gained our attention.  Still in the earliest stage of his career, we trust it will be launched with the same success as the opening of this recital.  We are looking forward to hearing more from this promising young artist.artist                                                                                                        © meche kroop
                                   

LIEDER ARE FOR LOVERS

Our favorite hang

It is impossible to sit in Paul Hall at Juilliard during one of the liederabend without feeling grateful for the opportunity to hear the stars of tomorrow and being impressed by the quality of the talent.  These young artists are already performing professionally around the USA and abroad and/or recording.  We have them right here to enjoy and the recitals are free.  Take that, Cleveland!

Last night's program was bookended by barihunks.  Philip Stoddard, partnered by pianist Jung A. Bang opened with four selections from Mahler's Rückert-Lieder, performed with consummate sensitivity and musicality.  In "Ich atmet' einen linden Duft" one could sense the aroma in the air.  And just listen to what Mr. Stoddard did with the word "frühling"!  This delicacy was followed by the wry mood of "Blicke mir nicht in die Lieder" and the solitude of "Ich bin der Welt abhanden gekommen".  We were totally transported by the variety of moods.  The lovely Ms. Bang has an equally sensitive light touch on the keys.

Partnered by Kyung Hee Kim, soprano Lindsey Nakatani used her bright soprano to perform Walzer Gesänge by Alexander Zemlinsky, settings of poetry by Ferdinand Gregorovius which Ms. Nakatani translated herself.  These are songs with which we wish to become better acquainted.

We have heard Mr. Bielfield and his superb tenor several times before and it was exciting to see him grow in a new direction, performing two selections from Liszt's Tre Sonetti di Petrarca.  With excellent support from pianist Ari Livne he conveyed the anxiety and the passion of the poet in "Pace non trovo". 

Soprano Lilla Heinrich-Szász sang Sechs Lieder, Op. 48 of Edvard Grieg accompanied by Dan K. Kurland, a fine partnership if we ever heard one.  Many moods were expressed and we especially enjoyed the lighthearted "Lauf der Welt" and "Die verschwiegene Nachtigall" and the always lovely "Ein Traum".  Ms. Heinrich-Szász will have the stage to herself Saturday night at 8:30 and we will be there.

Soprano Lara Secord-Haid and pianist Art Williford sang four selections from Enrique Granados' Canciones Amatorias.  We always welcome the opportunity to hear Spanish songs and these were lovely.

Baritone Emmett O'Hanlon closed the program with some American songs, stepping out of the late 19th c. from whence came the other songs on the program.  Piano partner Lachlan Glen, well known from Schubert&Co's year long perusal of all of Schubert's 600+ songs, showed us a different aspect of his pianistic skills in the songs by Charles Ives which Mr. O'Hanlon sang with fine technique and depth of feeling.  The optimistic "He is there!" contrasted with the sad "In Flanders Fields".  In the former, flutist Daniel James added his silvery voice.  But it was in the final song that Mr. O'Hanlon was the most moving,  Lee Hoiby's setting of "Last Letter Home", an actual letter by Pfc. Jesse Givens who apparently lost his life in service to our country.  It was difficult to hold back the tears.

Let it be noted that the singers were all involved with their material and connected with the audience; they stepped forward away from the piano and used their entire bodies to convey the meaning of the song.  We have complained often about famous singers who hang onto the piano or who have not memorized the music and are so pleased to know that these young singers are not falling into those dreaded habits.

Mr. Stoddard's graduation recital will be April 8th at 8PM so if you missed his superb performance last night you will get another opportunity.

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SCHUBERT TRUMPS THE SUPER BOWL

Schubert@Co. has reached the approximate midpoint of their perusal of Franz Schubert's output of 600 plus songs without any evidence of flagging enthusiasm and with ever increasing quality of talent.  Artistic directors and collaborative pianists Jonathan Ware and Lachlan Glen seem to have no difficulty assembling as talented a group of young Schubert interpreters as one could wish for and have arranged some rather stellar evenings for us Schubert lovers to enjoy.

Last night's recital was a case in point.  Settings of poetry by Johann Gabriel Seidl, Franz von Schober, Johann Gaudenz von Salis-Seewis, Friedrich Schiller and Wilhelm Müller/Helmina von Chezy were presented to the lieder lovers who eschewed the Super Bowl in favor of ART.  Lovely soprano Pureum Jo opened the program with a pair of settings of poetry by Seidl and another pair with poetry by Schober.  Ms. Jo always delivers deeply felt interpretations with eloquent phrasing, ear-pleasing resonance and some crystalline top notes.  Mr. Glen contributed some outstanding pianism that matched the profound mood changes from joyful to troubled.  Schober's "Vergissmeinnicht" is a charming song with changes of key and mode about a young girl's awakening to womanhood.  Mr. Glen captured it all and we loved it.

Mezzo Jazimina Macneil must have profited greatly by her summer at the Franz Schubert Institut since she showed a fine Schubertian style and a true mezzo sound in more songs by Schober and Seidl.  Some of the songs were incredibly sad but "Die Männer sind méchant" is a somewhat more lighthearted look at a different type of female awakening--that of awakening to the realization that men are unfaithful.  Mr. Ware excelled at capturing the rhythmic tread of the wanderer in "Der Wanderer an den Mond".

Tenor Cullen Gandy, in an unusual artistic decision, sang the deliciously ironic song of a young woman who keeps telling her lover all the things they will enjoy together but that she cannot love him because her mother warned her about love.  His pleasant tenor lands softly on the ear.  We are looking forward to hearing him in Santa Fe this coming summer where he will be an Apprentice Artist, a wonderful springboard for his career.

Tenor Miles Mykkanen, who also attended the Franz Schubert Institut, continues to delight us with his performance-ready voice and style.  He always shows amazing insight into the material and brought to life some settings of poetry by Salis-Seewis that we might not have otherwise enjoyed.  Perhaps Schubert was fonder of Seidl and Schober?

Baritone Philip Stoddard, like Mr. Mykkanen still an undergraduate, shows talent beyond his years of age and years of training.  The colors of his voice were very manly and his delivery powerful in Schober's "Schiffers Scheidelied" and "Jägers Liebeslied".  As convincing was his delivery, we urge Mr. Stoddard not to contemplate giving up singing for hunting and fishing!  

Mezzo Tammy Coil seemed alone in her lack of involvement with the material and the audience.  Some singers are able to be involved even when singing from the book but in this case we were somewhat disappointed.  We would welcome the opportunity to hear her again when she is more familiar with the material.  Furthermore we missed hearing any mezzo quality in her voice.

The evening ended on a high note with a delightful performance of "Der Hirt auf dem Felsen", one of our personal favorites.  Soprano Lilla Heinrich-Szasz performed the strenuous yodel-like vocal line with consistency of tone throughout the register, opening to a beautiful top.  In this lied, the clarinet serves to echo the vocal line and Jonathan Cohen did so with fine phrasing.  Mr. Ware's piano supported both in grand style.  The final verse conveyed the listener past the loneliness and sorrow right into the joy of anticipated Spring, which we too shared on this cold winter night.

(c) meche kroop

A WELL-SPENT HOUR

Sometimes one sits through 4-5 hours of opera and feels drained.  And sometimes one can have an hour of music that leaves one feeling uplifted and satisfied.  Such was the case last night when we had the good fortune of attending a recital by Robert White's students.  It was amazing to witness such poise and talent in a group of seniors--undergraduates all.  Never having sat in on his class, we can only extrapolate from the evidence of the performances.  We imagine they spent the entire semester preparing for this recital with an enormous amount of study of the text, the period, the language, the inherent drama, the means of sharing this knowledge with the audience, and so on.

Each of the seven students brought something different to the recital.  Soprano Lindsey Nakatani sang three songs by Henri Duparc with suitable Gallic sensitivity.  Baritone Jay Dref showed great stage personality with songs by Kander & Ebb, Steven Sondheim, and Lerner & Loewe, therein demonstrating that Broadway shows are truly on a par with 19th c. operas (which were the popular music of their day).

Baritone Philip Stoddard had such fine German diction in a late Romantic lied by Hermann Zilcher that we never needed to glance at the translations.  That he showed a light and humorous side in a cabaret song by William Bolcom was further evidence that lighter music was treated as seriously as lieder by Mr. White.

Soprano Jessica Taylor brought winsomeness to some songs by Jerome Kern, George Gershwin and Cole Porter, 20th c. American classics all.  Mezzo Virginie Verrez sang 3 songs by Jake Heggie, settings of texts by Frederica von Stade (who knew?)

Soprano Heather Stebbins blew us away with Hugo Wolf's "Verborgenheit", illustrating the despair with a rich chocolate sound that we look forward to hearing again.  A lighter side was demonstrated in Verdi's "Stornello" which was equally enjoyable.

To close the program and send everyone out smiling, tenor Miles Mykkanen brought down the house with 3 Sondheim songs.  Our personal favorite was "Moments in the Woods", otherwise known as the song of the Baker's Wife.  Mr. Mykkanen could easily find a home on the Broadway stage if he decides against opera.

Piano partner for all singers was Anastasia Dedik.

The biggest thrill of the evening, beside the generous display of talent and hard work, was the concept of treating 20th c. American classics with the same respect and attention as lieder.  To those who think serious academic music of that period is the true child of operatic parents, we would be happy to argue the point.  Your comments are welcome.

(c) meche kroop