TAKING IT OFF

The Hot Box Girls (plus one)

We just can't stay away from Opera Burlesque performed by The Hot Box Girls! The part of their performances that amazes us is that they can produce such exemplary singing while artistically disrobing. Singing alone requires attention to so many details--breathing, phrasing, diction, communication, dynamic control, etc.  Throw a little ecdysiastic action into the pot and one wonders how these lovely ladies can be so successful.

We have enjoyed their shows, at the opulent and intimate Duane Park on The Bowery, a number of times but this is the first time we got to hear Founder and Artistic Director Rebecca Greenstein, freshly arrived from Vienna, where she is enjoying a great artistic success.  She tells us that the Viennese have edgier taste than we New Yorkers do.  Here in the Big Apple, the material is largely confined to arias that we know and love.  Nothing wrong with that!  We are willing to bet that some members of the audience came for the T&A and left with a taste for opera.

Presenting opera in new ways, in new places, and directed toward a new audience, is all the rage these days. So, we sit on wooden bleachers drinking beer and we sit in elegant nightclubs drinking champagne. All for the sake of art.

The cast of Opera Burlesque changes from month to month.  Who knew there were so many opera singers with ecdysiastic talent! One favorite of ours is Trixie La Fée (née Francesca Caviglia) whom we have requested to never ever drop her act with the two huge red feathered fans. Her artistic manipulation of these props have interesting resonances as wings of a bird or a butterfly.

Not only that but she has a scintillating soprano which she showed off well in "V'adoro pupille" from Handel's Giulio Cesare; she has a commendable coloratura as well as a way with feathers.

New to us this time around was Ladybird Finch (née Rachel O'Malley) who was lovely in "Que fais-tu, blanche tourterelle?" from Gounod's Roméo et Juliette.

Dixie DeLight (née Kacey Cardin) is always a delight and we particularly enjoyed her "Ah! non credea mirarti" from Bellini's La Sonnambula. Regular readers will recall our affection for bel canto and Ms. Cardin did justice to this gorgeous aria.

Also on hand and well-remembered from prior performances was Sean D'Leer (née Melanie Long) who put a lot of pizazz into Rosina's aria "Una voce poco fa" from Rossini's Il Barbiere di Siviglia.

Ms. Greenstein herself, appearing as Jessica DoRight, worked the audience well as Musetta in "Quando m'en vo" from Puccini's La Bohème, strolling through the audience and teasing the men, just as Musetta would have done.

It occurred to us how well the selections were chosen in that they mostly all provided an excuse to flirt, entice, and seduce.

Even the lone male in the show, Lance-a-lot (née Brad Lassiter) was seductive as Escamillo in the "Toreador Song" from Bizet's Carmen and as Sergeant Belcore in "Come Paride vezzoso" from Donizetti's L'Elisir d'Amore.

Seth Weinstein as Count von Bang-it-out produced the always reliable piano accompaniment.

Allyson Webb (as Ally Cat) had a non-singing role as a French maid who assisted the singers in unlacing their corsets and picking up discarded garments. She put a lot of personality into the role.

The closing number, sung in English, was the bubbly "Champagne Chorus" from the beloved operetta Die Fledermaus by Johann Strauss, Jr.  We raise our glasses as well to toast new forms, new venues, new audiences,and new converts to opera.  PROSIT!

(c) meche kroop

OPERA WITH PASTIES

THE HOT BOX GIRLS (photo by Travis Chantar)

Could sex sell opera?  That was the question on our mind before attending last night's performance of L'Opera Burlesque at the intimate and glamorous venue of Duane Park. To put this to the test, we invited a gentleman friend who had never seen or heard an opera. 

A further question plagued us.  Would we, devoted operaphile, be distracted by the extra ingredient? Would nudity diminish the artistic impact?  You won't have to read to the end of the review to learn the answer.

Our friend wants to hear more opera and we enjoyed the show enormously. A woman can be talented as a singer and also skilled as an ecdysiast. We are never surprised by multi-talented people. One of our dearest friends is both ballet dancer and actress.

Had the voices been second rate we would have been rather judgmental but, truth to tell, each performer displayed superb vocal skills and lost nothing by shedding her clothes.  And what clothes!  

Thanks to splendid costuming by Angela Huff, these lovely ladies began each aria in period costume and ended in pasties and g-string. If one had closed one's eyes, one would have experienced an unamplified recital of favorite arias but one would have missed some visual delights. Not all young opera singers could pull this off but clearly these gals have multiple assets, no pun intended.

The most unforgettable performance was a fan dance performed by Trixie La Fée (Francesca Caviglia) who wielded red ostrich feathers in a gorgeously graceful manner during which mezzo-soprano Zara Zuela (Maria Elena Armijo) sang "Mon coeur s'ouvre à ta voix" from Samson et Dalila by Camille Saint-Saëns.

Ms. Caviglia showed her vocal chops most gloriously in "V'adoro pupille" from Händel's Giulio Cesare, leaving her slinky gown behind to wind up in nothing more than body jewelry.

Our favorite number by Dixie DeLight (Kacey Cardin) was "Ah! Non credea mirarti" from Vincenzo Bellini's bel canto masterpiece La Sonnambula in which our diva entered in a trancelike state, strewing rosepetals.

Sean D'Leer (Melanie Long) opened the program with the popular "Una voce poco fa" from Gioacchino Rossini's Il Barbiere di Siviglia. The elaborate wig came off along with the period costume.

The male roles were assumed by one Sir Lance-a-lot (Bradley Lassiter) who did justice to "O vin, dissipe la tristesse" from Ambroise Thomas' Hamlet, while stripping down to his skivvies.

For the grand finale, we heard the Champagne Chorus from Johann Straus II's Die Fledermaus in which the cast members circulated around the room toasting with audience members.  What fun!

Accompanying on the piano was Seth Weinstein, whose nom de scène was Count Von Bang-it-out. His versatility was impressive as he readily switched from classical mode to Broadway mode. Hostess for the evening was Cookie Cavendish (Charlotte Thun-Hoherstein).

If this description tempts you, you can learn more at www.lOperaBurlesque.com and www.HotBoxGirls.com.  We understand there are frequent performances at Duane Park and in Europe, often with a rotating cast of "hot girls" and a different selection of arias.

The concept is that of Rebecca Greenstein of Opera Moderne and we are so glad she has taken us out of our comfort zone.  The audience was young and we applaud any and all means of bringing young people to opera.  Bravissime tutte.

(c) meche kroop

THE IMPRESSIVE IMPRESSARIO

Rebecca Greenstein, Executive Director of Opera Moderne, wears many hats and last night, as hostess of The Bohemian Bash, she also wore so many costumes that we lost count.  If you have never met this amazing lady, allow us to introduce her.  She hails from Texas and has degrees in music and vocal performance.  She sings and dances and emcees just for starters, and does them all with special flair.

Last night she put together a fund-raiser in honor of Andreas Stadler, Director of the Austrian Cultural Forum New York, where we have heard and reviewed some pretty impressive lieder recitals (one coming up next Tuesday, don't say we didn't alert you).  Ms. Greenstein does nothing by halves; the evening had such a variety of entertainment that no one could have left unsatisfied.

The champagne flowed and was heralded by Verdi's "Libiamo" from La Traviata.  If that was too serious for you (LOL) there were excerpts from Johann Strauss' Die Fledermaus.  Attendees were given the opportunity to bid on arias and duets of their choice; if you figured out that Ms. Greenstein was tapped to sing "O mio babbino caro" from Puccini's Gianni Schicchi you were right on the money.  Much of the accompanying was performed by Pacien Mazzagatti.

Should you prefer the terpsichorean arts to opera, you would have enjoyed the world premiere of New Chamber Ballet's choreographer Miro Magloire (who cut quite a rug himself at the after-party); entitled "Metamorphose", the piece was danced by Kristin Draucker accompanied by Emily DiAngelo on oboe.  If folk dancing were more your taste, there was some lively Czardas and a performance of "Vilia".  Ballroom dancing?  You probably loved the five couples waltzing to "The Blue Danube".  Tappers?  Oh yes, that too.  Just look at Sugar Foot Mafia Dance Company.  And just look at those Hot Box Girls!  Wait, there's Ms. Greenstein again!

New music and classical, it was all there like a bounteous buffet, from Mozart to Berio.  And jazz too!  Franz Hackl Jazz Quartet made quite an impression.  And burlesque!  Right down to the pasties.  Did we forget anything?  Oh yes, dancing at the after party--Jessie Bunting and the Hot Shim Sham Orchestra.  Six solid hours of fun at the Czech Center.  We wish we had space to mention all the talented folk who contributed to this amazing evening of entertainment.  We just want to know who lit the fire under Ms. Greenstein.  And if that sounds like the title of a song, she's probably writing it by now.

© meche kroop