AMIGOS DE LA ZARZUELA

Maxim Anikushin, Conchi Moyano, Anna Tonna, Alejandro Olmedo, and Ricardo Rosa

Everything we know about the art form known as zarzuela we learned from Maestro Jorge Parodi. Today we learned some more interesting facts, none of which were necessary to appreciate the gorgeous melodies. The word comes from the word "zarza" which means "blackberry bush". 

It was during the reign of King Felipe IV who ascended the Spanish throne in 1621 and was known as a patron of the arts, not to be confused with the miserable Felipe II of the Verdi opera Don Carlo. The King and his court frequented the Real Sitio del Pardo in Madrid which was surrounded by blackberry bushes. There they enjoyed musical and comedic entertainment.  Now you know!

As Spain is somewhat geographically removed from Europe, zarzuela evolved as Spain's very own musical entertainment. By the 18th c. Italian and French opera became all the rage and supplanted zarzuela, but there was a renaissance in the 19th c. when several excellent Spanish composers revived the artform. Indeed, zarzuela was carried to the New World where it flourished into the middle of the 20th c. It remains popular in Puerto Rico and we understand that Placido Domingo has done much to introduce zarzuela to our nation's capitol.

We have never seen a complete zarzuela but aim to do something about that! Every time we hear an aria or duet extracted from a zarzuela we long to see it in toto. The plots remind us of telenovelas and the melodies are memorable.

Yesterday Amigos de la Zarzuela presented one of their enjoyable afternoon concerts at Weill Recital Hall. It is satisfying to know that there is a sizable and enthusiastic audience for this analogue to German singspiel, French opéra comique, and Italian opera buffa.

The program was generous and included four experienced performers, one for each fach--soprano Conchi Moyano, mezzo-soprano Anna Tonna, tenor Alejandro Olmedo, and baritone Ricardo Rosa.

It would be difficult to single out any one number because they were all charming in their own way.  But since we love duets, let us note our admiration for "Porque de mis ojos los tuyos retiras" from Ruperto Chapi's La Revoltosa. It seemed to be an enactment of a lovers spat and reconciliation, performed by Ms. Tonna and Mr. Rosa. The singing was incomparable and the acting so effective that even a person ignorant of the Spanish language would have understood.

Ms. Tonna's instrument has a pleasing texture and plenty of strength in her lower register. We loved her melismatic singing in her solo "Loa al fandanguillo" by Romero.

Mr. Rosa's full throated baritone was just right for "Oh licor que das la vida" from Soutullo y Vert's La Leyenda del Beso.

"Caballero del alto plumero" is a marvelously flirtatious duet from Torroba's Luisa Fernanda, here given a marvelous performance by Ms. Moyano and Mr. Olmedo.

Ms. Moyano has an instrument of great power with an expansive top. She performed "La Petenera" from Torroba's La Marchenera with warm expansive tone and lovely phrasing.

Mr. Olmedo's best turn was in the romantic ballad "Flor roja" from Guerrero's Los Gavilanes in which he floated the high note with exceptional delicacy.

The pianist for the evening, Maxim Anikushin, certainly accompanied with sazon!  However, he also performed some solo works showing his pianistic skills without distraction. Our favorite without a doubt was the brief introspective "Intermezzo" by Manuel Ponce. We always prefer such pieces to the virtuoso ones but that is just our taste.

A special feature of the program was the dancing of Elizabeth Torras.

One rarely witnesses such versatility but we enjoyed Ms. Torras' dancing in three different styles. Dressed in flowing white and accompanying herself with castanets, she performed the graceful "La Boda de Luis Alonso" by Gimenez with all the grace of classical dance.

Dressed in masculine attire, she performed "Farruca del molinero" from Manuel de Falla's El Sombrero de Tres Picos (known on English programs as The Three-Cornered Hat. The simplicity of the piano rhythm gave her an opportunity to embellish the 4/4 rhythm with rapid and forceful Flamenco-inflected footwork.

In her final selection, she danced in a traditional Flamenco gown with a long train that she kicked around artistically and held up over her head at one point. Isaac Albeniz' Asturias was rhythmically and powerfully performed by both Ms. Torras and Mr. Anikushin. Her graceful arms suggested the arm movements of Indian dance which surely influenced Flamenco.

It certainly was a fine afternoon of music and dance, one we enjoyed immensely.

(c) meche kroop

AMIGOS DE LA ZARZUELA

Amaya Arberas, Alejandro Olmedo, Anna Tonna, Gabriela Granados, and Ricardo Rosa

Just as Spain is kind of a part of Europe but not exactly, so zarzuela is kind of an opera but not exactly.  Nor is zarzuela just one thing. This amalgam of operatic singing, popular song, spoken word, and dance can be thought of as Spain's response to the singspiel of Germany, the operetta of Austria, the opéra comique of France. Moreover, zarzuela in the baroque period was very different from zarzuela of the romantic period. Just as in European opera, the focus shifted from stories of mythic heroes and shepherdesses to stories about real people.

So, we are learning about an art form which evolved from the 17th c. to the 20th c.  To our knowledge no new zarzuelas have been written since WWII. Zarzuelas written in the New World began to show signs of revolutionary ideas, as opposed to the conservative maintenance of the status quo. We have much to learn and if this topic interests you, a good place to start is, of course, Wikipedia.

Yesterday afternoon we attended a festive gala produced by Amigos de la Zarzuela. What impressed us most about every singer was the quality missing from Friday night's recital at Carnegie Hall. The four singers employed body and soul to communicate with the audience. The involvement was fierce and we loved that quality. It felt so special to be drawn into their world.

Soprano Amaya Arberas, reviewed several times and very recently (reviews available through the search bar), sang 20th c. Cuban composer Rodrigo Prat's "Ana Maria Belén" from Maria Belén Chacón. One could believe her living the role, such was the level of intensity of involvement.

Her performance of the strophic "Carceleras" from Ruperto Chapí's 19th c. Las Hijas del Zebedeo was flirtatious and featured a marvelous vocalise, showing off Ms. Arberas' bel canto strengths.

But perhaps the selection we enjoyed the most was her duet with mezzo-soprano Anna Tonna.  Francisco Asenja Barbieri also composed during the 19th c. and "Niña que a vender flores" from Los Diamantes de la Corona was given a fine performance with the two voices joining in perfect harmony.

Ms. Tonna also had a fine solo in "De la Serrania: Loa al fandanguillo" a canción written by Modesto Romero in the early 20th c. The song is a passionate one and Ms. Tonna sang it with ample sazón, negotiating the turns without sacrificing the flamenco flavor.

Speaking of flamenco flavor, dancer Gabriela Granados contributed two lovely dances to the program. This was not the modernized overly-choreographed flamenco that has been boring us lately.  Nor was it the brooding authentic flamenco with its passionate heart-breaking singing.  Rather it was one classically trained dancer focused on communing with the music and with the audience.

The first number was the "Fandango" from Amadeo Vives' early 20th c. zarzuela Dona Francisquita. Ms. Granados employed no extravagant effects but danced with classical grace using castanets and footwork to fine advantage. Her second number was one she choreographed herself to Isaac Albeniz' "Tango". Gone were the castanets with a flirtatious fan taking its place.

Tenor Alejandro Olmedo has an expansive style and some wonderful training in the bel canto style which was revealed in the way he handled the beautiful pure vowels of the Spanish language. We enjoyed his "Te quiero morena" from Jose Serrano's El Trust de Los Tenorios.

The popular "No puede ser" from Pablo Sorozábal's La Tabernera del Puerto was sung with heart and soul and a wide range of feeling tone.

Ricardo Rosa has a sizable baritone with a pleasing vibrato. He sang "Mi aldea" from Jacinto Guerrero's early 20th c. zarzuela Los Gavilanes. Mr. Rosa must have a special affinity for the works of Guerrero; he joined voices with Ms. Tonna for a romantic duet from the composer's La Rosa del Azafrán.

His performance of the drinking song "Oh Licor que das la vida" from La Leyenda del Beso by Reveriano Soutullo y Juan Vert was performed with rhythm and panache.

One of our favorite zarzuela duets is that between the duchess and the dashing colonel from Federico Moreno Torroba's Luisa Fernanda which we just heard a few days earlier sung by singers from Argentina. We can well understand why it frequently winds up on recital programs because it is a charming flirtatious piece. Ms. Arberas and Mr. Olmedo brought the flirtation to vivid life.

The pianist for the evening was Maxim Anikushin. One would not expect so much Spanish sabor from a Russian soul but there it was! Mr. Anikushin seemed to be having as much fun as the dancer and singers. He opened the program with Antonio Soler's 18th c. piece, a relatively sedate Sonata.

Then he moved on to Isaac Albeniz' far more exciting Asturias, which served to set the Spanish tone for the evening. The A-section gave the piano an opportunity to sound like the guitar while the B-section was more lyrical.

He also performed Joaquin Larregla's most famous work for piano "Viva Navarra" in which melodies tumble forth, awakening memories of oft heard Spanish music.

The fine program drew to a close with a spirited toe-tapping finale--the quartet from Agua, Azucarillos y Aguardiente. Water, sweetmeats and booze.  Sounds good to us!

(c) meche kroop

YOUNG SINGERS FROM ARGENTINA

Marcelo Ayub, Dr. Alejandro Cordero, Nicolás Romero, Gustavo Vita, and Constanza Diaz Falú

Last night we had the privilege of being welcomed by the Americas Society to hear a recital by three young singers from the training division of Teatro Colón, one of the leading opera houses in the Americas. This seems to be something like the Apprentice Program of the Santa Fe Opera or the Merola Program at the San Francisco Opera.

A benefactor named Dr. Alejandro Cordero has underwritten the New York recital of young artists from this Instituto Superior de Arte del Teatro Colón for eight years. These three were chosen by audition and the program was a most agreeable one, comprising familiar opera arias and, happily, some Spanish and Latin American music at the end.

We were most impressed by soprano Constanza Diaz Falú who, of the three, seemed most performance ready. Ms. Diaz Falú has the kind of well-focused bright soprano that we love to hear singing Mozart and Rossini. She negotiated the fioritura effortlessly and has a most engaging stage presence.

Her "Der Hölle Rache" from Mozart's Die Zauberflöte left nothing to be desired; her technique was excellent and her portrayal of the angry Queen of the Night was completely apt. Quite different but equally wonderful was "Ah! Donate il caro sposo", Sofia's lovely aria from Rossini's early one-act comedy Il signor Buschino with its excellent ornamentation--lovely even without the English horn solo.

Her rendition of "Glitter and Be Gay" from Leonard Bernstein's Candide was full of charm but we found the accent (British English combined with Spanish) a slight drawback.

She also performed the part of Zerlina in "La ci darem la mano" from Mozart's Don Giovanni with bass Gustavo Vita as the vile seducer of Seville. Her stage presence was so winning that she swept the otherwise wooden Mr. Vita right along with her.

Mr. Vita has a substantial bass but looks awkward onstage and comes across as effortful.  This interfered with his connection with the audience. He seemed to connect well with his material but it didn't translate. It seemed as if he needed someone onstage with whom to come alive. We were wondering if some kind of body work would be of assistance--some instruction in dance or movement that would loosen him up.

Nicolás Romero has a pleasing tenor and sang "Amor ti vieta" from Umberto Giordano's Fedora--with passion. We liked him even better in "E lucevan le stelle" from Puccini's Tosca in which he employed dynamic variety to good effect.  He also did well with Cardillo's "Core 'ngrato" and Casalino's "Non ti scordar di me". two audience favorites. 

Mr. Romero sings effortlessly in the upper register, even with forte passages, but we wanted to experience more breath support in the pianissimi to prevent his sound from dwindling.

Our favorite however was "La roca fria del calvario" from José Serrano's wonderful zarzuela La Dolorosa, which we had the pleasure of seeing in its entirety about a year ago. We can never get enough zarzuela!

Singers tend to do best in their native language and we loved Ms. Diaz Falú's tender interpretation of Fernando Obradors' "Del cabello más sutil" which she sang in the Castilian dialect. 

Soprano and tenor joined voices for the lovely duet "Caballero del alto plumero" from Federico Moreno Torroba's charming zarzuela Luisa Fernanda, in which the Duchess and the handsome young Colonel are having a flirtation. The final work on the program was the trio "Uno" by M. Mores.

Pianist and Musical Director for this lovely evening was Marcelo Ayub.

We have long lauded Argentina for their tango, their fine wine, and their beef.  Now we can add one more thing--they produce some fine young singers.  Bravissimi!

(c) meche kroop

SIX LANGUAGES

Eric Malson and Joo Won Kang

We confess to being overwhelmed with the wealth of vocal talent in New York City.  Sometimes a young artist has something special that sets him or her apart.  In the case of baritone Joo Won Kang it is the way he sings from the heart.  There is never a shadow of doubt that his thoughts connect deeply with the text and his body, with the music.  We don't mean that he gesticulates wildly or dances about the stage; on the contrary, he exhibits an economy of movement.  But one does get the impression that he is inhabiting the song physically.

His recital last night at The National Opera Center was the first of this season's Emerging Artist Recital Series and coincided with Opera America's second anniversary--a fitting celebration indeed!

Mr. Kang is the McCammon Voice Competition Winner of the year and comes to us from the Fort Worth Opera and the Opera Guild of Fort Worth. Notable to us New Yorkers is the fact that he received his Master's Degree from the Manhattan School of Music; several faculty members were in attendance to cheer him on.

Mr. Kang has a strong but mellow baritone, rich and sweet like a wonderful cup of coffee.  He uses it wisely with fine technique of which the listener is made unaware.  He sang in German, English, French, Korean, Italian and Spanish--all with fine diction.

He opened his program with Beethoven's "Adelaide", a song that disproves the commonplace remark that Beethoven was not a melodist.  Such a charming song!  His "purpurblättchen" gave us a nearly synesthetic experience; he is a master of word coloring.

"Pierrot's Tanzlied" from Korngold's Die tote Stadt showed off Mr. Kang's gorgeous legato (how rare in German!) and was filled with longing.

Gerald Finzi's Let Us Garlands Bring sets Shakespeare's texts to some quite lovely music and expresses many moods, all of which Mr. Kang captured--the morbidity of "Come away, death", the fatalism of "Fear no more the heat o' the sun, and the frisky joy of "O mistress mine" during which Mr. Kang's excellent piano partner Eric Malson let loose with some fine pianism.

With fine French style, Mr. Kang performed Poulenc's Chansons Gaillardes.  Perhaps, however, it was the three Korean songs which touched him (and therefore us) most deeply, especially the last one with its deeply felt homesickness.

To cap the evening, Mr. Kang sang one of our very favorite baritone arias "Di Provenza il mar" (from Verdi's La Traviata) in which Germont père tries to manipulate his wayward son into giving up his scandalous affair with Violetta and return to the family fold.

But there was more to come as Mr. Kang generously offered two encores, one prepared and one more that the wildly enthusiastic audience demanded.  We were overjoyed to hear some Spanish--"Amor, vida de mi vida" from the zarzuela Maravilla composed by Federico Moreno Torroba.  Now we yearn for the entire zarzuela!

"Some Enchanted Evening" from Rodgers and Hammerstein's South Pacific ended the recital and the title could not have been a better description of our evening.

© meche kroop