PRELUDE TO PERFORMANCE DOES CARMEN

Emily Righter and Ben Werley

Last night we attended opening night of the 13th season of Prelude to Performance, Martina Arroyo's summer program in which 75 participants study for 6 weeks learning roles. They are given instruction in language, dramatic interpretation, recitativi, and stage combat; they receive coaching and also participate in several master classes, some of which we have reviewed. This program is unique in that the young artists receive stipends, thanks to the generosity of the donors who support the program. Many graduates go on to major careers.

Judging by the tumultuous applause that greeted the curtain call of Bizet's Carmen, the program is, as it has been, a major success. Participants learn a great deal and walk away with a role "under their belts" that should serve them well in the future. And the audience, comprising a Who's Who of Planet Opera, walks away happily entertained.

If you share our taste, it's likely that you have longed for a traditional production of Carmen. We have gotten rather tired of updatings and novel interpretations, with the exception of one very radical Carmen produced by Heartbeat Opera. One can always count on Prelude to Performance to do a traditional production and to do it exceptionally well.

Last night's Carmen can be seen again Saturday night and we hope you will still be able to secure tickets. You will see the beautiful mezzo-soprano Emily Grace Righter as Carmen and tenor Ben Werley as Don Jose. This tragic character must evolve from a rather buttoned up corporal as the opera commences into a raging murderous maniac at its conclusion. Mr. Werley's plangent tenor was most remarkable in his second act aria "La fleur que tu m'avais jetee"; he was totally convincing as the lovesick corporal and evinced a lovely legato.

We recall Ms. Righter from four years ago when we reviewed her performance in a small role in Rossini's Mose in Egitto, presented by New York City Opera. She is maturing into a fine performer with a very lovely instrument and fine stage presence.  As she grows into this role, we hope she will dig deeper into the earthiness, a difficult task given her refined appearance. There was nothing wrong with her seductive acting but we feel that there is a need for a deeper more organic approach.

Baritone Brian Major has a fine instrument well suited to the role of Escamillo but also needs a bit more work in creating the character from the inside out. Soprano Sarah Cooper performed the role of Micaela and grew in stature such that her third act aria "Je dis que rien ne m'epouvante" brought down the house.

We greatly enjoyed the performances of soprano Shana Grossman (Frasquita) and mezzo Olivia Johnson (Mercedes) who threw themselves into their roles with abandon. As a matter of fact, our favorite part of the opera was the second act quintet which provides some necessary comic relief. Baritone Dan Ewart as Le Dancaire and tenor Hector Mir as Le Remendado turned in some fine performances as they joined the three women in the humorous planning of a smuggling operation.

Bass Zaikuan Song handled the role of Zuniga, Don Jose's superior and competitor. Phillip Bullock used his mellow low voice in the role of Morales, pressing his attentions on the shy Micaela at the beginning of the opera.

The chorus sang well and there was no fudging the French anywhere.

The work was finely directed by Laura Alley with some very lively business on the streets of Seville in front of the tobacco factory, and later at Lilas Pastia's tavern. There was also a twist at the end which we decline to reveal but it worked well. Recitativi were sung, not spoken. The long scene in Act IV with the parade of picadors was cut but no one seemed to miss it.

As usual, costuming (Charles R. Caine) was lavish, as one can see on the carousel of photos which we posted on our Facebook page (Voce di Meche). The tobacco factory girls were scantily clad (for that time period) and the gypsies and smugglers looked just the way one wants gypsies and smugglers to look. The military men looked exactly right.

Also as usual, the set (Joshua Rose) was simple but effective, making use of projections. The lighting was fine, especially in Act III where the dark lighting elicited a sense of menace, leaving the audience to imagine the mountain pass.

The overture began somewhat raggedly but Maestro Daniel Lipton brought the unruly strings under control rather rapidly and we particularly enjoyed solos by flute, clarinet, oboe and the brass section. 

Tonight we will be reviewing an evening of Puccini and hearing the large cast of women in Suor Angelica, most of whom are new to us. We are particularly looking forward to hearing Leah Marie de Gruyl as La Zia Principessa, having heard her in a master class.

No one will leave depressed because that opera will be followed by another one-acter by Puccini that always leaves us laughing--Gianni Schicchi. Remember "O mio babbino caro"? This is the opera from which that aria comes. But you knew that already, didn't you?

Do consider catching both the Puccini double feature tonight and Carmen tomorrow night!

(c) meche kroop 

CAREER BRIDGES GALA 2017

2017 Winners of Career Bridges Grants

Last night we were privileged to attend the Fifteenth Annual Career Bridges Awards Dinner and Concert at the Essex House, and what a night that was! Co-founded by David Schuyler Bender and Barbara Meister Bender, Career Bridges is one of those worthy and necessary organizations that helps young opera singers to achieve their dreams. They are unique in providing grant winners a three-year program of mentoring, financial support, and performance opportunities.

The Board of Directors, the Honorary Board of Directors, and the Board of Advisors comprise all the good people that make the enterprise possible with Benefactors, Patrons, Sponsors, Supporters, and Friends contributing the wherewithal. Last night's program began with a warm welcome from the Benders and awards were given to Anthony Piccolo, Director of the Metropolitan Opera Children's Chorus and Kent Tritle the renowned choral conductor who seems to be just about everywhere.

Although focusing on talent while people are eating and drinking is a bit more difficult than in a recital hall, the performances were so impressive that they won out over our appetite. Most of the singers were this year's award recipients but some were guests from prior years.  A few were known to us and previously reviewed; we were delighted to have an opportunity to hear them again.

Among the familiar voices were soprano Shana Grossman and tenor Jonathan Tetelman who distinguished themselves in the famous final quartet from Verdi's Rigoletto. (We believe we first reviewed them in Die Fledermaus, produced by Martina Arroyo's Prelude to Performance. Ms. Grossman won our heart as Adele and Mr. Tetelman delighted us as Herr Eisenstein. And there they were, together again!)  

Last night, Ms. Grossman made a splendid Gilda with well negotiated upward skips and fine fioritura. Mr. Tetelman made an excellent Duke. Filling out the quartet were Melanie Ashkar as Maddalena and Robert Balonek as Rigoletto.  (We remember Ms. Ashkar's weighty mezzo from Opera Rox' production of Handel's Alcina when she impressed us in the role of Bradamante. This is an unusual voice that, once heard, is not forgotten.) She also had a solo last night and by now you may have guessed that it was the "Seguidilla" from Carmen. Her dusky tone was perfect for the part.

Mr. Balonek is also known to us from Chelsea Opera. The voices harmonized in fine fashion and showed everyone's voice off to good advantage.

Hearing Mr. Tetelman sing "Che gelida manina" from Puccini's La Boheme with his full-throated tone was yet another treat. Even without context it was a dramatically valid performance and we especially enjoyed the pianissimo passages.

Soprano Yulan Piao (well remembered from her excellent performance as the eponymous Luisa Miller in the Verdi opera at Manhattan School of Music and from IVAI's summer program.) made a perfect Liu and her vibrant overtones were particularly well suited to the role.  From Puccini's Turandot, she performed "Signore, ascolta!" with fine tone and emotional expressiveness.

Baritone Jesse Malgieri is recalled from his work with the Little Opera Theater of New York and also from Chelsea Opera. He brought the superb recital to an inspiring close with "Impossible Dream", after which the entire group joined in for "Climb Every Mountain".

Now, let us tell you about some wonderful singers we had never heard before--and we do love hearing new people as much as catching up with those we already know.

The evening began with soprano Liz Lang whose flexibility and skill with fioritura made "Da tempeste" from Handel's Giulio Cesare a treat for the ears. We want to hear more of her!

From Verdi's Don Carlo, baritone Jared Guest  gave a moving performance of "O Carlo ascolta", one of our favorite baritone arias. And yes we want to hear more of Mr. Guest as well.

Coloratura soprano Emily Misch knocked our proverbial socks off with "Der Holle Rache", the Queen of the Night's riveting aria from Mozart's Die Zauberflote. The penetrating tone and wickedly difficult fioritura were all there. That's a tough act to follow but, fortunately, the charm of the Papageno/ Papagena duet was just what was needed.  Soprano Teresa Castllo and Mr. Balonek were just adorable together.

But it wasn't until Ms. Castillo performed "Glitter and Be Gay" from Bernstein's Candide that we were able to appreciate the extent of her artistry. The vocal and dramatic challenges were equally well met.

Bass-baritone Eugene Richards used his substantial instrument effectively in "Suo Padre" from Verdi's Aida whilst bass-baritone Vartan Gabrielian handled "Aleko's Aria" from Rachmaninoff's opera of the same name with equal success. Dorian McCall did well with "Vous qui faites l'endormi", Mefistofele's aria from Gounod's Faust. How fortunate to find three low voices on the same program.

After all that opera it was refreshing to take things down an emotional notch with the lovely song "La Rosa y el Sauce" by Carlos Guastavino and tenderly sung by Zaray Rodriguez. We just heard it at a Cinco de Mayo recital by Opera New York and was overcome by its loveliness.

Musical Director for the evening was Ted Taylor and the host was WQXR's Robert Sherman.

(c) meche kroop

COMEDY TONIGHT!!!

Prince Orlofsky's ball--Act II of Die Fledermaus (photo by Jen Joyce Davis)

Thursday night at Prelude to Performance's La Bohème we wept and couldn't stop the tears; last night at their performance of Johann Strauss Jr.'s Die Fledermaus, we laughed, we giggled, we guffawed--- along with the rest of the enchanted audience.

Comedy is more difficult than tragedy to perform; the cast must play it straight so we can laugh at their foibles.  They are funny because they take themselves seriously. Nothing is worse than a performer working at being funny. We are happy to report that the totally terrific cast of this Prelude to Performance production got everything right. We can't remember having a better time.

The libretto by Karl Haffner and Richard Genée sparkles with wit and takes delight in poking a finger in the eye of 1874 Vienna with all of its hypocrisy. The entire story is one of deception and pretense. Dr. Falke (portrayed by the excellent baritone Thaddaeus Bourne) has orchestrated an elaborate charade to get revenge on his friend Gabriel von Eisenstein (brilliantly performed by Jonathan Tetelman, whose change of fach from baritone to terrific tenor was a wise choice);  Eisenstein once abandoned his friend drunk and in full chiropterological drag. (Now that morning return home must have been some "walk of shame").

Falk has invited all the characters in his little drama to a ball given by the idiosyncratic Russian aristocrat Prince Orlofsky (in a star turn by mezzo-soprano Hongni Wu, whose voice has a gorgeously unique timbre). Orlofsky is bored by life and only wants to be amused.  Amusement he gets!  In Spades!

Eisenstein has been invited to the ball as a last gasp of wild fun before he serves a brief prison sentence. (Something akin to a bachelor party!) He hopes to flirt with some dancers there but becomes entranced by his own wife Rosalinde.

Rosalinde has been invited, and is bent on getting even with her deceiving husband. She is disguised as a Hungarian countess and if the role could have been better portrayed by anyone but stunning soprano Haley Sicking, we have yet to imagine it. Her comedic skills are prodigious and her lusty soprano shone in the Czardas--an over-the-top Viennese interpretation of Hungarian "soul". The scene of the husband trying to seduce his own wife was one of the many highlights of the evening.

Rosalinde's chambermaid Adele (charmingly sung by the sparkling soprano Shana Grossman) has also been brought to the ball under false pretenses. She thinks the invitation was from her ballerina sister but we learn that it is Falke's doing. She begs Rosalinde for the night off "to visit a sick aunt" and "borrows" a gown from her bosslady. She pretends to be an actress and entrances Frank, the prison warden who is also there under false pretenses.  He is delightfully portrayed by baritone Paul Grosvenor, pretending to be Chevalier Chagrin while Eisenstein is pretending to be the equally Gallic Marquis Renard. Another comedic highlight was witnessing the two faux Frenchmen trying to communicate in pigeon French.

There is a subplot of Rosalinde being caught in an almost compromising position by Frank in Act I when an old lover named Alfred (enacted by Spencer Hamlin whose ringing effortless tenor made him perfect for the part of a singing teacher) is having a nocturnal tête-a-tête with Rosalinde. To spare her being dishonored Alfred pretends to be her husband and goes to jail with Frank.

Another source of humor was the bumbling lawyer Dr. Blind, portrayed by Joseph Sacchi, who was literally chased out of the house by the Eisensteins. So much physical humor!

There is yet another source of hilarity--the bibulous Frosch, portrayed hilariously (and in English spoken dialogue) by Steven Mo Hanan.

With musical and dramatic values at such a high professional level, it would be a pity to miss this witty production, directed with a fine hand by Gina Lapinski.  It will be reprised at Sunday matinée with the same fine cast.

Strauss' tunes have stuck in our mind and we have been humming them all night while we write. From the first theme in the overture the melodies are completely captivating. Maestro Steven M. Crawford kept the energy flowing non-stop with much of the music being in waltz or duple time.  It was difficult to sit still! 

As if that were not sufficient, the gorgeous costumes of Charles R. Caine dazzled the eye and transported us to a glamorous time and place. Abdul Latif's choreography added to the delight. The party scene in Act II gave an opportunity for chorus members to strut their stuff, under the guidance of Chorus Master Noby Ishida.

The set was simple and seems to have served for both this production and La Bohème, neither enhancing nor detracting from the action. 

Both singing and spoken dialogue were performed in the original German and performed with clarity. Although Brett Findley's titles were excellent for non-German speakers, we confess to getting a kick out of understanding the well-enunciated German. Credit for German coaching goes to Vera Junkers. 

(c) meche kroop