REMMERS CAPTIVATES WITH GILBERT AND SULLIVAN

 

William Remmers

Might there be a lover of the works of Gilbert and Sullivan here in New York City who is unaware of the multi-talented William Remmers and  Utopia Opera? If so, it pains us to inform you that last night's survey of songs from all of the G&S canon will not likely be repeated. That being said, we hope it will be. Indeed, if it were being presented tonight we would joyfully attend once more.

What a banquet of goodies, with one marvelous song seamlessly following another in a sequence that worked magnificently as a live "playlist"; the order of numbers seemed randomly determined but included something from every one of  W.S. Gilbert and Arthur Sullivan's enormous output.

Why do we so love those Savoyards? For the same reason that most of the United States adores South Park. We relish seeing the skewering of politicians and political bodies. We love hearing witty words composed around silly plots satirizing contemporary culture. And, although the average audience member may not be consciously aware of the perfect marriage of music and text, we feel it in a way that we do not feel when sitting through a contemporary opera with its prosy libretto. The rhymes are nearly always brilliantly devised.

It is most interesting that Remmers can sail through the many patter songs faster than one can read the projected titles, for which we would like to credit Alyson Sheehan. The titles were cleverly arranged on the page and were projected in perfect time with the singing. The witty words go by so fast that one misses a lot, not to mention the multiple references to British institutions and historical figures of whom we are ignorant. Significantly, our companion, for whom English is but a second language, had a wonderful time enjoying the rhythm and sound of Gilbert's text and Sullivan's music without knowing any of the references.

Whilst giving credit, Erica Rome did a yeoman's job (🤦sorry about that) of accompanying on the piano . The chorus, comprising Heather Bobeck, Karina Vartanian, Cate Webber-Curry, Colin Safley, Marc Shepherd, and Zachary Tirgan provided the tuneful and coherent backup.

However, the evening belonged to Remmers. We know the artist primarily as the Founder and Artistic Director of the singular Utopia Opera--and also as conductor of their orchestra. We have heard of the artist's forays into the world of cabaret, film making, and also musical composition.. Tonight we appreciated Remmers as a performer, singing and acting a succession of characters of a diverse nature. What artistry at creating scenes , performing all the parts. Indeed, in the second part of the evening, we enjoyed an entire scene from Ruddigore in which Robin confronts his ancestors about the family necessity of creating evil deeds on a daily basis.. Remmers has a long limbed and limber body as well as an expressively mobile face that make this theatrical legerdemain succeed.

In "Oh, foolish fay" from Iolanthe, Remmers created a Queen of the Fairies without benefit of costume, using only vocal coloration and physical posture. Although dozens (yes, dozens) of numbers seemed more difficult, like the patter songs for which G&S were renowned, it was this aria that touched us most deeply. We couldn't help thinking of grand opera in which a dazzling display of coloratura fireworks may be followed by a limpid legato.

There was one talent that Remmers displayed that took us by surprise--that of a rather good guitarist, self-accompanying for several numbers.

One of our favorite numbers is always "I've Got a Little List" ("As Someday It May Happen") from The Mikado in which tradition permits wanton invention, rewriting the text to suit the political moment. As an amusing diversion, Dear Reader, we invite you to make your own list of people who "never will be missed". Clearly Remmers is someone who would be missed and we are so happy not to have missed this delightful show.

© meche kroop

PIRATICAL and DRAMATICAL

Cast of The Pirates of Penzance -- a Utopia Opera production

We have often written about how rare it is to find a composer who can set the English language in a musical way. One must capitalize upon its punchy rhythm and unique rhymability. Who beside Stephen Sondheim has done that? One must go all the way back to Victorian days to the works of W.S. Gilbert and Arthur Sullivan to find such heights of delight.

As many times as we have seen Pirates of Penzance, the production by Utopia Opera was the absolute best, hands down. For one thing, the small theater at Hunter College (the Lang Recital Hall) permitted an up close and personal viewing. For another thing, the enunciation of the language was so crisp that we didn't miss a single clever rhyme. Also, the performances were filled with energy, thanks to some dynamic direction by the super talented William Remmers and some excellent casting of singers with comedic chops. Furthermore, the staging was filled with so much invention that we never missed the sets. 

Musical values hit the mark with Music Direction shared by Mr. Remmers with John Cuk who conducted the lively score, placing the string quartet plus bass at ground level and the winds and percussion on one side of the stage.

The singers were superb. As the Pirate King, Erik Contzius created a lovable rascal to whom Frederic (fine tenor Daniel Kamalic) was apprenticed at a very young age. For those of you who don't know the story, Frederic's nursemaid Ruth (a very funny Amy Maude Helfer) thought she was apprenticing him as a pilot, not a pirate.

Having reached his 21st birthday, Frederic assumes he has fulfilled his duties and is free to abandon the crew of pirates whom he loves individually but deplores as a group. This crew is a strange lot, never attacking a weaker party and having a soft spot for orphans, a feature which becomes an interesting plot point.

Frederick falls in love with Mabel, one of five daughters of Major-General Stanley, hilariously portrayed by Mr. Remmers, thus absenting himself from his usual task of conducting the orchestra. This role is the most challenging one of the opera, involving a patter song ("I am the very model of a modern Major-General") that we have never heard sung so rapidly, nor so crisply. 

The role of Mabel was sung by the splendid soprano Kathleen Norchi who was given songs that seemed to send up the tropes of bel canto opera. She easily negotiated the elaborate fioritura and made a worthy love object for young Frederic.

Trey Sandusky created the character of the Sergeant of Police who adopted a "dese, dem, and dose accent" whilst singing "When a felon's not engaged in his employment". We don't know why a cockney accent wasn't chosen to contrast with the plummy British accents of the other characters but it worked and was very funny.

Juan José López Delgado was equally excellent as Samuel, the Pirate King's lieutenant and the second in command to the Sergeant of Police. As Major-General Stanley's other daughters we had a comely group of young women--Kayla Faccilongo, Leslie Ratner, Shannon Gaffney, and Jane Hoffman.

We love seeing imagination taking the place of major expenditures and give credit to Eric Lamp and Angel Betancourt for their clever costuming.

Perhaps one reason that this comic opera is so successful in the United States is that the objects of skewering are not as unknown to Americans. Satirizing a sense of duty is more familiar than the inner workings of British political bodies. As a matter of fact, the work premiered right here in New York in 1879, shortly before it played in London. It has been popular ever since.

We are thrilled that Utopia's audience voted to see this work. By now, we hope you know that the audience selects works for Utopia Opera to produce. Although the audience is always enthusiastic, we have never heard such wild applause. The production absolutely deserved that acclaim.

We urge you to attend the final performance--today's matinée-- if tickets are still available. Photos of the performance are on our Facebook page, Voce di Meche. Utopia Opera's ninth season continues with a Mozart/Salieri double bill in the Spring.

© meche kroop

SOME LIGHT EMERGES

Angela Dinkelman, Lydia Adelle Brown, Caroline Worra, Billy Huyler, Laura Virella, and Alexander Mason

Last night we attended the opening of Utopia Opera's production of Some Light Emerges.  In an original concept by co-librettist Mark Campbell, five very different characters are profoundly affected by visiting the Rothko Chapel in Houston, Texas. That we cared about the follow-up, in which we learn about their futures, testifies to the superior performances of all six cast members whose acting was as fine as their singing.

Caroline Worra is completely believable as Dominique de Menil, the society matron/philanthropist who established an ecumenical sanctuary in Houston, commissioning canvases from Mark Rothko. It was interesting that when Rothko butted heads with architect Philip Johnson, the latter was replaced. The chapel opened in 1971. Not only did her character have several monologues (one could not call them arias) but she remained onstage throughout the performance, gazing benevolently upon the five individuals who visit during different time periods, each one delivering a monologue. The theme is that each is transformed by the artwork.

Billy Huyler portrays Tom, a visitor from the hinterlands who comes to enjoy some air conditioning--an escape from the Texas heat. Unwittingly he becomes subject to the power of the art and returns from time to time.

Angela Dinkelman plays the role of Margie, a housewife/mother who is enjoying a day of self-indulgence which includes dining on frog's legs at a French restaurant. She returns also but with a twist we will not reveal.

Laura Virella was totally convincing as a Latina lesbian who has come to the chapel for a memorial for a friend who died of AIDS. She too has an interesting twist in her future. What goes around, as they say.

Alexander Mason took the role of Albert, an Algerian immigrant working in IT who is bearing the brunt of hostility toward Middle-Easterners just after 9/11. He is in fact a Berber.

Lydia Adelle Brown gave a convincing performance as Cece, an African-American teenager from New Orleans who has been uprooted by Katrina and taken in by a Houston family. She is filled with anger but her exposure to Rothko's paintings, encouraged by her teacher (guess who!), produces a profound change in her future.

After all those monologues, it was a pleasure to see a couple of the characters interact toward the end.

If you love stories like this, which we do, you will enjoy this music-theater piece. If you love Rothko's art, which we do not, you will also enjoy this work. And if you are a fan of contemporary opera you will find much to enjoy here.

Our feelings about Laura Kaminsky's music are mixed. The instrumental music, as performed by some superb musicians under the baton of Maestro William Remmers, is sometimes lyrical and, at other times, jarring and disharmonious. (Guess which we liked!) But there is nary a suggestion of a pleasing melodic line for the singers, which seems to be the current standard for contemporary opera. That Ms. Kaminsky is celebrated is a fact-- but we still didn't emerge from the 75 min. piece with a desire to repeat the experience.

Lochlan Brown was impressive on the keyboard and we particularly appreciated the sonorities of the winds (flute, bassoon, and trombone--quite an unusual combination). We also noted the interesting percussion.

The libretto by Mark Campbell and Kimberly Reed (who also partnered with Ms. Kaminsky for the recently reviewed As One) was wordy and reads better than it sings. It might have worked better as a play. Actually, we perceived it more as one of those one-woman plays in which a gifted actor plays all the parts.  We loved Mr. Campbell's libretto for The (R)evolution of Steve Jobs, seen at Santa Fe Opera--the review of which can be found by utilizing the search bar. In that case, his words and Mason Bates' music seemed to work well together. We did not have that experience on this occasion. One might say that the light that emerged did not enlighten us.

Stage Direction by David Schweizer was simple but appropriate, as was the simple costuming by Eric Lamp and Angel Betancourt.

We missed melody and we missed Maestro Remmers' pre-performance dry humor in his role as Artistic Director. We didn't see hide nor hair of him until he ascended the podium!

(c) meche kroop

ALBERT HERRING PART II

Cory Gross seated and surrounded by Marie Masters Webb, Caroline Tye, Jonathan Harris, Glenn Friedman,
Rebecca Richardson, Sarah Marvel Bleasdale, Stephanie Feigenbaum, and Luc MacMillan

What a fine time we had last night at Utopia Opera's production of Britten's Albert Herring! Although we generally don't care much for 20th c. operas, which always seem to us to be plays with music, we were tickled pink by the exceptional performances; they came together in a delightful whole, greater than the sum of its parts, thanks to astute stage direction by Gary Slavin and the fine musical performance under the baton of William Remmers.

For information on the background of this opera and the plot, please consult yesterday's review of a different production by Manhattan School of Music Senior Opera Theater. Several people have asked us which production we liked better. The answer is that they were both equally likable; can one compare raspberries and blackberries?

MSM's production was set in the intended period at the turn of the 20th c. in which the characters behaved in a restrained manner, appropriate to that epoch. We smirked at their high-minded morality and stuffy manners. Mr. Slavin set the work in 1959, a time period in which rebellion against society's dictates was just flowering. There is the butcher's assistant Sid (Luke MacMillan) coming on like a louche James Dean and his girlfriend Nancy (Stephanie Feigenbaum) a real "bobbysoxer" with an appealing sympathetic side.

Both productions poked fun at the older generation's stuffiness and "morality" but the acting in this production was over the top and laugh-out-loud hilarious. Marie Masters Webb as Lady Billows had one of the most withering glances we have ever seen. The other characters reactions to her overbearing and disdainful mien were just as laugh-worthy.

Similarly, the stern housekeeper Florence Pike, enacted by Caroline Tye, brought fear with her wherever she went--a true master of intimidation. Vicar Gedge had a touch of hypocrisy--judgmental toward others but, in a clever directorial touch (just one among many), a bit importunate toward the lovely but resistant schoolteacher Miss Wordsworth whose avoidant facial expressions were priceless. We couldn't help thinking of how times have changed in a half century. Today she could tell him off with impunity!

Sarah Marvel Beasdale did her customary fine work as Albert's strict mother, severe in her approach to motherhood and a firm taskmaster. Ethan Fran made a fine Mayor Upfold and Jonathan Harris did well as Superintendent Budd of the Loxford Police. We enjoyed their hysterical reactions when our hero went missing overnight.

Children are children and have always been given to mocking their elders behind their back. The charming Emmie was played by Hannah Madeleine Goodman; Zoe Marie Hart was seen as Cis and Jen Wu as the rascal Harry. All three were convincing and added immeasurably to the fun.

And what about our hero, the eponymous Albert? Cory Gross effectively employed facial and gestural expression to convey his varying moods. He began by appearing beaten down, gazing with envy at Sid and Nancy's fondling. (We noted that much more was made last night of the double entendres in the libretto.) His face and posture suggested wistfulness and a longing for escape.

The glances he made when notified that he was elected King of the May let us know how shy he was, how overruled he was in his objections, and how uncomfortable he was in being in the spotlight. With a little rum in his tum, thanks to the machinations of Sid, his entire expression changed and one couldn't help but egg him on to an exploratory adventure. The triumphant expression he evinced upon his return home the next morning left us feeling as happy as he looked.

The set comprised a couple tables and chairs which served all purposes. When we see opera on a shoestring, we use our imagination to fill in the blanks. In this case, we recalled the elegant settings from last night at MSM. Similarly, the costumes were also improvised by Eric Lamp and Angel Betancourt, but we cared not a whit. It was the dramatic and musical values that carried the evening.

We don't have much to say about the music that we didn't say last night. Still, there was an advantage in having the chamber orchestra front and center (well, actually, front and stage left, as it usually is) because we had an extra measure of pleasure glancing at the musicians when we heard that divine alto flute/bassoon duet, as well as the heraldic horn calls.

We noticed several examples of fugal writing which Maestro Remmers brought to the forefront and the excellent threnody when the townspeople believe Albert to have died. Such tragic writing in the midst of a comedy had an extra impact.

The music is not our favorite due to the fact that we are unable to truly appreciate a singer's vocal skills without a nice 19th c. melody. That being said, we did like the way Britten's instrumental writing emphasized the personality of each character. Would the work have succeeded as a play without music? Probably. With such excellent direction and acting we would have enjoyed the comedy. But we love music and have no complaints.

We do have one observation and that is about the staging. The small but comfortable Lang Recital Hall at Hunter College has excellent sightlines and good placement for the projection of titles. That was the sole edge the production had over the one at MSM. No matter how well the words are enunciated, we always miss some words at the higher end of the register and are grateful for the opportunity to fill in the gaps.

If you were lucky enough to have enjoyed what we consider Utopia Opera's finest production to date, we welcome your comments. If you missed it, we are very very sorry. There will be one more production June 7-9 of Laura Kaminsky's Some Light Emerges, a New York premiere. Mark your calendars.

Before closing we would like to report our delight that Utopia Opera is moving forward into territory more professional. We always have believed that artists should be paid and paid they will be. This company has grown significantly in its eight years and has, miraculously, covered its expenses by ticket sales. The new growth will require new funding.  Just sayin'!

(c) meche kroop

THE STORY OF HARRIET TUBMAN

Lindell Carter, MaKayla McDonald, William Remmers, Markel Reed, Karmesha Peake, and Virdell Williams in Thea Musgrave's "The Story of Harriet Tubman"

The story must be told and who better to stage it than William Remmers' Utopia Opera!  Maestro Remmers has never shrunk from a challenge and audience members who voted for this work never shrink from providing him with these challenges. So this, his eighth season, began with a chamber reduction of Ms. Musgraves grand opera Harriet, the Woman Called Moses, which premiered at Virginia Opera in 1985.

With ongoing assistance from the composer, Julian Grant accomplished the orchestration for three strings, three winds, percussion and keyboard, conducted by Maestro Remmers. Direction by Viktoria I.V. King was effective in telling the story, which left us inspired and moved.

Harriet Tubman was a slave who escaped from slavery and sacrificed her personal happiness and safety to return to the south 18 times to rescue over 300 slaves over the Underground Railroad, aided by the Quaker abolitionist Mr. Garrett, here portrayed by Andrew Dwan.

The work opened strongly with Harriet's father Ben (portrayed magnificently by the deep voiced Virdell Williams) singing the heartfelt spiritual "Go Down Moses". Prose narration was offered by Harriet's brother Benjie (portrayed well by tenor Lindell Carter) and was augmented throughout the work by various other cast members.

The eponymous Harriet was given a superlative interpretation by MaKayla McDonald who elicited both admiration and sympathy by her fine portrayal. As her beloved Josiah, Markel Reed was appealing and completely believable. Mama Rit was performed by Karmesha Peake who held the stage with her excellent presence and fine singing.

The story is told fairly and Caucasians are presented as both bad guys and good guys. The Master, sympathetically portrayed by Tadeusz von Moltke, cares for his slaves as part of the family and does not want to sell them to other masters who might mistreat them.  But his son Preston (nastily portrayed by Luke Jackson) is a wastrel and wants his father to sell off some slaves to pay his gambling debts. We don't want to reveal how this plays out because we want you to see the show! The other bad dude is the Overseer, convincingly acted by Kristoffer Infante who comes across as one scary dude.

The ensemble had voices as strong as the principals. Costumes by Eric Lamp and Angel Betancourt were simple but effective.

Every culture has its myths (i.e. American Thanksgiving) and every country has its shame (i.e. Germany's Holocaust). How one deals with these is relevant beyond words. Our nation is now dealing with the myth espoused by our own Statue of Liberty versus the reality and shame of the way POTUS is dealing with Latin American refugees. Slavery is part of our past and can never be denied.

Art is a wonderful way to confront people with issues in a way far better than hectoring and writing an opera is a fine way to show us our shameful history. We just wish we liked the music and libretto better. The instrumental music is more "interesting" than beautiful and there were no appealing vocal lines except for the aforementioned "Go Down Moses" and "Swing Low Sweet Chariot", beautifully sung by Ms. McDonald. Mr. Reed sang "Lonesome Road" in a tender touching fashion.

Ms. McDonald was given a tuneless aria "Can't Live Without Ben" and we couldn't help thinking of "My Man's Gone Now" from Gershwin's Porgy and Bess. There's a reason that Gershwin's opera stays in the repertoire.  There's a reason that singers use the arias as audition pieces and in recital.  That reason is that there is melody. When will contemporary composers realize that melody is memorable!

Although the "book" is excellent, the libretto is less so. Dialect was mixed with what we would call contemporary educated speech and the sentences were too long. We think it would have worked better with short conversational phrases spoken completely in dialect. We were grateful for the surtitles accompanying the singing and would have enjoyed them for the dialogue as well.

In spite of these minor disappointments, we recommend this work highly for its dramatic impact and convincing performances. We would welcome the opportunity to hear any of the singers again; we honor the idea of dramatizing the struggle of Afro-Americans and the reality of giving so many worthy singers an opportunity to perform.

(c) meche kroop

THE MARTYR OF ANTIOCH

Alexis Cregger, Adam C.J. Klein, William Remmers, Caroline Tye, and Duncan Hartman

We didn't expect to find much of interest in a dramatic oratorio with a religious theme, especially one sung in English. But.  Big but. Where William Remmers goes, we follow. Such is the cred he has built with us after several years of engaging and stimulating productions by Utopia Opera.

The most impressive part of the performance was seeing what Maestro Remmers could achieve with a full orchestra in the sanctuary of Rutgers Presbyterian Church on the Upper West Side. His conducting is astute and highly energetic, and a bit balletic. 

We couldn't help noticing that The Utopia Opera Choir, having sounded rather muddy in the first scene, became suddenly crisp and clean in the second scene when he left the podium (whilst we were dazzled by an outstanding organ solo, performed by Mary Nelson) and focused his conducting attention on the choir.

The setup in the sanctuary put the strings at audience level with winds elevated on the stage and the choir behind. The splendid soloists sang in front of the strings, and therefore behind Mr. Remmers. It all worked just fine.

Although we knew that Arthur Sullivan had written serious music, we never paid much attention to it, since it is rarely heard on symphony programs. When we think of Sullivan, it is generally in connection with his partnership with W.S. Gilbert, with whom he wrote so many wickedly humorous and satirical operettas--works that are often heard on professional stages, not to mention in schools and summer camps.

What a discovery to hear Sullivan's late Romantic style in its full glory. With the help of Gilbert in adapting the poem of Rev. Henry Hart Milman, a work of musical and spiritual value was created.  It premiered as a piece d'occasion at the Leeds Music Festival in 1880 with Mr. Sullivan on the podium; last night was the United States premiere of the orchestral version.

If, dear reader, you are interested in details about the changes wrought by G&S on Milman's text, we refer you to gsarchive.net. Let it be noted that the text is in iambic pentameter; whereas the original is in blank verse. Gilbert ensured that we would have some rhymes to tickle the ear.

The work takes place in Syria in the 3rd c. and involves the martyrdom of Margarita (the daughter of Callias, the Priest of Apollo) who has converted to Christianity. The poem celebrates the steadfastness of her faith as she sacrifices her love for Olybius, the Roman Prefect and probably her life. With 21st c. cynicism, we see it as the stubbornness of a delusion.

As the martyr Margarita, the stunning soprano of Alexis Cregger filled the nave with clear bright sound that thrilled the ear. The sweet tenor instrument of Adam C.J.Klein was just right for his aria "Come, Margarita, come!" in Scene 1; he became more forceful in Scene 3 when he tried to persuade Margarita, and he darkened the color appropriately for their confrontation when she refused to relent.

Duncan Hartman's dark bass was perfect for the role of Callias, the pompous priest of Apollo, who was understandably stentorian when angry at his daughter's betrayal of the family faith. Their confrontation was rather chilling and made for a fine duet.

Utopia Opera regular Caroline Tye used her rich chocolatey mezzo-soprano in the role of Julia, the speaker of the choir. She colored her voice even darker as she opined that Margarita would die. If we are not mistaken, this role was not in the original poem but was created by G&S. And we are glad they did!

Baritone Kevin Miller sang well in the small role of Fabius, Bishop of Antioch. We liked the mellow sound of his voice.

Except for the choir, all the soloists enunciated clearly so that the text could be understood. We never take that skill for granted.

We enjoyed Evan Chertok's gusto on the timpani as well as Mr. Remmers' picking up some of the percussion by striking the triangle. We have never before seen a conductor do so.

Mélanie Genin's harp solo accompanying Margarita's ode to her lyre was a special treat, as was the cello solo in scene 2.

It was a fine evening, full of surprises and enlightenment. We love to be surprised and we love to be enlightened.

(c) meche kroop

PASSION

Elizabeth Bouk and Jonathan Fox Powers in Sondheim's PASSION at Utopia Opera

Most people enjoy having their opinions validated and we are no exception.  In the Director's Notes for Sondheim's Passion, presented by the reliably adventuresome Utopia Opera, Benjamin Spierman eloquently addresses the issue of opera vs. musical theater. We are in complete agreement that any division is unnecessary and only results in contentious discussion. Drama with music, when sung by classically trained singers without amplification qualifies a work as "opera" in our opinion.

One of the distinguishing features of "opera" is that it is passionate.  People die for love, kill for love, and live on the edge.  That is why opera is the perfect antidote for our "whatever" age, marked by indifference and irony.

The very title of Sondheim's work tells us so.  The story was adapted from Ettore Scola's film Passione d'Amore, itself adapted from the 19th c. novel Fosca by Iginio Ugo Tarchetti. The renowned James Lapine wrote the book. 

The story concerns a young military officer whose pity for his Colonel's sickly cousin ends up becoming love. Fosca is a disagreeable and demanding woman with a sad past and she stalks Captain Giorgio Bachetti obsessively until she wins him over.

That he has a romantic and sexual relationship with Clara, a woman he adores, does not stop Fosca from throwing herself at Giorgio without reservation or reason, sacrificing all dignity in the process.

Elizabeth Bouk was convincing as Fosca, somehow hiding her natural beauty to portray a woman who believes herself to be homely. It was satisfying to watch her blossom when she succeeded in winning Giorgio's love.

Giorgio was well enacted and sung by Jonathan Fox Powers who showed us his character's inner kindness but also his attempts to firmly reject Fosca's initial advances. His fine voice suited the part well.

We particularly enjoyed Dennis Wees' portrayal of Colonel Ricci, so protective of his unfortunate cousin and so angry when he believes that Giorgio has taken advantage of her. He also has a fine voice and employs it well.  

Actually, the encounters between Giorgio and Fosca were set up and encouraged by Doctor Tambourri, played rather woodenly by Jack Anderson White.

As Clara, Giorgio's married lover who loves with the necessary restrictions of a married woman who stands to lose her child in 19th c. Italy, Paige Cutrona was barely audible except when she employed the upper end of her register where she had an attractive sound. The spoken dialogue and lower notes could not be heard.

Mr. Spierman himself appeared as Fosca's father, in flashback, with Hannah Spierman portraying her mother with a fine sizable sound. Also seen in flashback was the "Count" Ludovic (Jonathan Price) who took advantage of Fosca which probably led to the decline in her health.

Comic relief was provided by the military men who gathered over meals and billiards, commenting on the action like a Greek chorus. Performers were Ray Calderon, Benjamin Herman, Platon Vavylis, Nick Miller, and Ross Schwaber.  It was in these scenes that Sondheim's familiar wordplay was most in evidence.

The music is through-composed with several impactful duets. Most of the arias involve the reading of letters written by Giorgio to Clara and by Clara to Giorgio. We hear Sondheim reaching for something grander in this work, arguably his most operatic creation. Under the baton of Artistic and Music Director William Remmers, the orchestra played well.  On the audience level we had a string quartet plus bass and two keyboards. On stage and off to the side, as usual, we had a pair of horns, a trumpet, percussion, and four wind players who alternated among oboe, English horn, clarinet, and flute. 

Originally Jonathan Tunick composed the lush orchestration and we have no evidence that this was changed for Utopia Opera's production. The score is definitely worth a repeat hearing.

Speaking of repeats, you will have a couple opportunities to catch this chamber opera. There is a matinee today and another on Sunday and an evening performance tonight at 8:00.  The work is seldom produced and we encourage you to seize the opportunity.

(c) meche kroop

OUR VOTE COUNTED!!!

Nick Miller, Louis Riva, Elizabeth Treat, William Remmers, Caroline Tye, and Roman Laba

Our political votes may not count but our votes for upcoming seasons' performances at Utopia Opera definitely do.  Last year we voted for Friedrich von Flotow's Martha because we never had a chance to see it live. Apparently other fans of Utopia Opera shared my wish and we got to hear and see it last night in Lang Recital Hall at Hunter College. What other opera company allows its fans to determine its season!

We were not disappointed.  As a matter of fact, we were smiling for a couple of hours and danced our way home, our head filled with delicious melodies.  Although the music began as a ballet, von Flotow set this 1847 opera to a German text by Friedrich Wilhelm Reise. The style of it seemed to us more French than German and the setting is in England in the 18th c. We wonder whether there was not a German aristocracy at which to poke fun!

Conductor/Director William Remmers has updated the action to mid-20th c. with nothing lost and perhaps the advantage of getting his cast dressed in period signifiers, like ballet flats, rolled up jeans, and poodle skirts. The story concerns two female British aristocrats who find their lives boring. (Props to anyone who despises empty pursuits and meaningless wealth). 

Lady Harriet (winning sung by soprano Elizabeth Treat about whom we are tempted to make a pun) is courted by the pompous Sir Tristan, effectively performed by Roman Laba. Harriet and her friend Nancy (the superb mezzo-soprano Caroline Tye) are amused and envious of the carefree young women who are going to the Market at Richmond to get hired as farm workers.  They decide to dress as "commoners" and pull a prank.

They get themselves hired to work on the farm of Plunkett (the captivating Nick Miller) and his adopted brother Lyonel (the silken voiced tenor Louis Riva); the prank backfires when they realize that they are contracted for a year and this will be enforced by the Sheriff of Richmond (the convincing Brian J. Alvarado).

The scene in which the two women are shocked that they are expected to work is hilarious.  Just hear the way Ms. Tye rolls the "r" in "arbeit"! They need to be rescued by Sir Tristan--but not before the two women have a chance to bond with the two farmers.  The working out of this romantic foursome is always entertaining and we will not spoil it for you by telling you the ending.

But...on the way to the happy ending, we heard gorgeous duets by the two women and by the two men, a charming trio, a beautiful conciliatory quartet "Schlafe wohl! Und mag Dich reuen", a drinking song for the male chorus "Lasst mich euch fragen", the interpolated Irish folk song "Letzte rose" by Thomas Moore, and the memorable tenor aria "Ach! so fromm! Ach! so traut".

Not only were the five leads excellent but there was splendid support from both male and female choruses, who portrayed farmers and courtiers and hired hands. Andrew Jurden stood out as a page and as a farmer. The female hired hands formed an effective ensemble with lots of clever rhymes based upon their names.

The a propos wardrobe was credited to Eric Lamp (also the Second Page) and Angel Betancourt. Mr. Remmers conducted and managed to pull together the orchestra in which there were some unruly winds. Lochlan Brown did his customarily fine work on the keyboard.

We have no idea why this enchanting comedy has fallen out of the repertory but it's a piece that merits production and we are overjoyed to have seen it staged. Worth noting is that it was translated into Italian and Enrico Caruso performed it many times. The key tenor aria in Italian was "M'appari, tutt'amor" and we are quite sure we have heard it sung on its own.

(c) meche kroop

HYDROGEN JUKEBOX

William Remmers and Cast of Utopia Opera's production of Hydrogen Jukebox

There are a few people on Planet Opera whose artistic judgment is so superior that we will follow them anywhere-- and that sometimes leads to terra incognita, which was the case last night at the fine intimate Lang Recital Hall of Hunter College when Maestro William Remmers conducted Hydrogen Jukebox from the keyboard.

What was this musical "entertainment" that wandered so very far outside of our conception of opera? This collaboration between "beat poet" Allen Ginsberg and minimalist composer Philip Glass could be considered an oratorio, or a song cycle; but does it matter? It held out attention for two hours and roused the sizable audience to an enthusiastic standing ovation.

Credit for the success must be shared with Stage Director Gary Slavin who turned abstract poetry into theater. Along with Maestro Remmers, supertitles were designed artistically, appearing and dropping off the screen, sometimes in phrases and at other times word by word.

Ginsberg and Glass met by chance in 1988 and collaborated so successfully that they undertook this work, which premiered at the Spoleto Festival (the one in Charleston, South Carolina) two years later. The work has been produced a number of times, most recently at Tri-Cities Opera and at Chatauqua.

The text included poems from Ginsberg's oeuvre written over several decades from the 50's through the 80's. Much of it is socio-political, dealing with anti-war sentiment, environmental despair, and the sexual revolution.  Some of it is of a more personal nature, exploring the poet's drug use and interest in Buddhist philosophy.  Most of it paints a verbal portrait of a dystopian world, one in which our leaders seem not to care and our media bury important news beneath superficial stories of so-called celebrities.  Hmmmm.  Does this sound resonant? prescient?

The able cast comprised sopranos K.C. Peck and La Toya Lewis, mezzo-soprano Kristin Behrmann, tenor Matt Hughes, and baritones Nathaniel Sullivan and Jeff Goble. Everyone sang finely with commitment and acted with ensemble spirit but we were glad to have the surtitles since English (in our opinion) does not "sing well". We wished that the spoken text had also been awarded titles.

We found ourselves more fascinated by Glass' music than by Ginsberg's text. The repetition of the interval of a minor third is haunting and the instrumentation is novel to our ears. We do recall liking Glass' music long ago as the soundtrack to the Qatsi Trilogy, films that shared Ginsberg's dystopian view of the world.

The scoring involved two keyboards, played by Maestro Remmers and Brian Victor. There were two players of wind instruments and we spotted saxophones of all registers and a flute; there was a stunning solo on the baritone saxophone.

Most remarkable was the percussion which provided infinite textures for which Tyler Mashek and Shelby McKay-Blezinger were responsible. We particularly enjoyed their work in "Numbers in Red Notebook; To Aunt Rose" which dazzled us rhythmically.

There were two other musical moments that stood out for us. One was when Ms. Lewis performed an "aria" based on the poem "Cabin in the Rockies" and the other was when Maestro Remmers left the keyboard and moved to the onstage piano for the bluesy hymn-like "Wichita Vortex Sutra".

If we have succeeded in intriguing you, there will be two performances today, both matinee and evening.

It has been said that artists hold a mirror up to show us who we are; it seems we are not a pretty sight! But we are left wondering why so much of 19th c. music is so pleasing to the ear! We are sure there were wars and industrial revolutions and disease and upheavals.  If anyone can answer this in the comment section below, we will be grateful for your insights.

We think of Utopia Opera as The Little Engine that Could. There is nothing one can throw at Maestro Remmers that he can't catch and run with. His audience votes for what they want him to produce for the following season.

This is Utopia Opera's 7th season and we are particularly looking forward to Flotow's Martha and Sondheim's Passion.  Fans have voted for Thea Musgrave's Harriet, the Woman Called Moses, which will require a larger theater with an orchestra pit.  Go for it William!

(c) meche kroop

UTOPIA DOES BABY DOE

Eizabeth Bouk, Angela Dinkelman, Maestro William Remmers, Jack Anderson White, and Julia Snowden

We rarely enjoy an operatic performance without taking notes but (note this!) we were so absorbed in the story and the performances last night that we did not. Douglas Moore's The Ballad of Baby Doe is 60 years old but its resonance is quite contemporary.  Beverly Sills sang the lead with New York City Opera and later the role was taken by Faith Esham and Elizabeth Futral. We understand that it has been often performed around the United States but we had never seen it until last night when Utopia Opera gave it an admirable production.

John Latouche's libretto limns a story that strikes several chords with us Americans. The history of the West, for one thing, with its saloons and dance hall girls, is a favorite theme; even Puccini grabbed onto that with his Fanciulla del West. The rise and fall of tycoons is another favorite theme, as is the defiance of societal norms.  All these are present in the tale of Horace Tabor who, with the help of his wife (the boss' daughter), clawed and schemed his way to the top of the social heap in late 19th c. Colorado.

Augusta had been a fine helpmeet but when Mr. Tabor heard "Baby" Doe sing "The Willow Song", he was smitten (as were we) and left his loyal wife. The scandal led to social ostracism but their love endured until his death. Because of the United States switching from the silver standard to the gold standard, he died impoverished, a broken man.

It is a tribute to some mighty fine performances that we were left caring about all the characters. Angela Dinkelman's soaring soprano took her from a woman of questionable repute in Act I, through to the devoted wife who cradled her dying husband at the conclusion. In the interim, she is pampered with riches--but she unquestioningly relinquishes them when her husband's poor judgment bankrupts him.  We could tell from her vocal coloration that she was a good person and not a hussy.

As the improvident Horace Tabor, Jack Anderson White's manly baritone clarified how he could attract two such exceptional women. His chemistry with Baby Doe was powerful and their duets contained harmonies redolent of their attraction and ultimately of their mutual love.  As Baby Doe tells her mother (the excellent and believable Julia Snowden), her first husband was never the love of her life.  Tabor was.

Elizabeth Bouk's rich mezzo was a fine counterpart to Ms. Dinkelman's high-flying soprano. Her Augusta grew from the sharp bitterness of a rejected wife to the softer compassion she felt for Tabor when fate turned against him. She had tried but failed during their marriage to get him to be more circumspect and conservative, but her primness was not to his liking.

In this day and age, two people falling for each other and divorcing their spouses to be together would scarcely raise eyebrows, but in the late 19th c., where this story took place (and yes, it is based on real historical figures) there was scandal aplenty, and plenty of encouragement toward vengeance from Augusta's female friends. But this impressive figure took the high road and we felt great sympathy for her when she became old and sick.

There is also the interesting feature of primly dressed women assuming a high-brow stance at the "Opry House" in Leadville which was built by Tabor himself. Notably, the husbands preferred to hang out in the saloon with the dancing girls!

In grand opera tradition, there would be a huge cast and elaborate scenes of the wedding, the ball, the political rally, etc. But the modest resources of Utopia Opera served them well, allowing the intimate drama to unfold and touch our hearts.  Indeed, most of the arias are private contemplations and reminiscences. We are privy to the characters' innermost feelings and this allows us to empathize in a way we cannot in a large theater with scene-stealing sets.

Another feature of a small company is that each member gets to perform in several roles. Limitations of space prevent us from crediting the dozens of superb performers who collaborated to make this opera the success that it was.

Gary Slavin's astute direction kept the story moving along successfully.

Under the baton of Maestro William Remmers, the orchestra gave Douglas Moore's music a lot of pizazz. A half dozen strings were bowed on the floor level, whilst 13 winds squeezed onto one side of the stage. We had no problem with the balance and enjoyed the accessible (and happily non-academic) music. Tyler Mashek handled the percussion and Levi Vutipadorn manned the keyboard. No complaints on that account!

Readers may wonder why we have not complained about the English in which it was written. We were surprised at how well John Latouche's writing reflected American speech patterns and the pleasing vocal lines that resulted. It is unfortunate that this was the sole collaboration of Moore and Latouche. If only more contemporary operas could learn from this one.

It is also due to the fine English diction that we were absolved from reading the titles, which were helpful mainly when Ms. Dinkelmann's voice reached the stratosphere.

The stage was bare, except for a few chairs that were multi-purposed. Costuming was sourced from the performers own closets and assembled with imagination. We did not feel at all disturbed by the lack of authenticity to the period. When push comes to shove, we are mostly interested in musical and dramatic validity.

We understand that Utopia's June production will be Tchaikovsky's Eugene Onegin....in Russian.  Is there nothing Maestro Remmers will not tackle?  We doubt it.  Perhaps The Ring Cycle?

Stay tuned to learn which operas won the Audience Choice competition for next year.  We have been sworn to secrecy and we NEVER EVER leak.  Well, hardly ever!

(c) meche kroop

THE GRANDEST OF GRAND DUKEDOM

Kevin Miller and Hanne Dollase as Dr. Tannhauser and the Baroness von Krakenfeldt

Who else beside W.S. Gilbert and Arthur Sullivan could churn out one hit after another with such relevance to their time and place, and yet still feel relevant today! Who but William Remmers and his Utopia Opera could capture the wild and crazy spirit with which they invested their works! Opera (without getting into a discussion of whether operetta and music theater fit under that umbrella) must be both artistic and entertaining. This production of The Grand Duke, alternatively titled The Statutory Duel, definitely filled the bill.  Lucky for you, dear reader, you will have two chances next weekend to enjoy the piece that entertained us so royally (ahem!) last night.

Gilbert and Sullivan began their joint writing career for the D'Oyly Carte Opera Company with a work entitled Thespis in which a theatrical company aspires to political power. How fitting then that their final collaboration in 1896 took on the same theme. No opportunity was lost to skewer political patronage, an issue still dear to our hearts. A further theme, written about so eloquently in Mr. Remmers' program notes, deals with the extent to which one's role in life, echoed by the role the actors assume in the theater, affect the script of one's life and that of other people.

The conceit of the story is that interpretation of the law can alter lives in multiple ways. The so-called law of the (fictional) land of Pfennig Halbpfennig is one of dueling by drawing playing cards, a situation in which the loser is "dead for a day" and the winner assumes all his responsibilities and debts. The law is uncovered by the notary Dr. Tannhauser who later discovers a loophole, a deus ex machina which permits a happy ending in which everyone can marry someone.

Until that time, Ludwig, the leading comedian of the troop (the talented Ben Cohen), was engaged to marry the soubrette Lisa (the beautiful and sweet voiced Kat Liu);  then wed to the British comedienne Julia Jellicoe (the hilarious Hannah Spierman) whom he "inherited" when he trounced theater manager Ernest Dummkopf (the superb Matt Hughes); then to the aristocratic Baroness von Krakenfeldt (the smoky voiced Hanne Dollase) whom he took over from Rudolph the stingy and despotic Grand Duke of Pfennig Halbpfennig (the excellent performer Martin Everall); then to the Princess of Monte Carlo (delightful Allyson Herman) to whom he was betrothed as a child.  Is that clear?

It all centers around a plot to depose the Grand Duke who is none too popular. Much of the audience laughter would suggest a certain contemporary topicality. Gales of laughter also greeted many of the scenes. The late arrival of the Prince of Monte Carlo (the fine David Tillistrand) who paid off his debts by inventing roulette, involved the worst and funniest French accent ever heard.  Come to think of it, how topsy-turvily funny it is that this German (or Austrian) theatrical company spoke in British accents whilst the British comedian spoke with a rather spotty German accent.

The parts were perfectly cast and the voices were all eminently listenable. Duets and ensembles were particularly fine, Gilbert was such a fine wordsmith and Sullivan such a fine tunesmith! That some critical opinion opined that this 14th and final collaboration of the pair was not up to par did not mar our opinion a whit. What we did consider is that the two "smiths" had had a falling out and perhaps that inspired the plot in which the lead comedian takes over the position of the theater manager by means of a "statutory duel" in which no one gets hurt.  Converting daily struggles into art is what the artist is supposed to do.

There was no scenery to distract one from the fine performances. Fortunately there were titles so that none of Gilbert's clever words and rhymes would be missed. All of the players sang and spoke clearly but the words of the chorus did not come through and we were glad to have titles.

Costuming by Eric Lamp and Angel Betancourt added to the fun.

Mr. Remmers conducted the orchestra which occasionally sounded a bit ragged but always brought out the excellence of Sullivan's music, whether it was waltz or march or ballad. Once or twice we heard echoes of Offenbach. At the turn of the 20th century, entertainment was evolving and there would be no more Gilbert and Sullivan. How glad we are to have the oeuvre that we do and to have had the opportunity to enjoy a show that had been unknown to us!

(c) meche kroop

IT WOULD BE A CRIME TO MISS!

Sarah Marvel Bleasdale, Joshua Miller, Duncan Harman, and David Pasteelnick in Utopia Opera's production of Sondheim's Assassins

Stephen Sondheim's 1990 musical Assassins was originally presented Off-Broadway by Playwrights Horizons (we were there) and remounted on Broadway in 2004, garnering 5 Tony awards. It is just as relevant today, if not more so, largely due to the intransigence of the NRA and the vehemence of their followers.

Utopia Opera's decision to present it as their season opener was based, as these decisions are, on votes from the audience. This show got more votes than any other show that was nominated. 

Although some of Sondheim's oeuvre seem quite kin to opera, this one is more like a revue. Although the topic of presidential assassination is a highly serious one, the show gives it a gloss of black humor and Sondheim's music is unmatchable. His dialogue is twice as clever as it needs to be.

With slim biographical data to go on, the characters in the show are fully realized by John Weidman's excellent book: paranoid schizophrenics, disaffected immigrants, woefully misguided idealists, pathetic victims of an exploitative society, and all-around loonies.

The parts were brilliantly cast, effectively enacted, and well sung by a cast that seemed to bring serious vocal training from both the operatic camp and the Broadway camp. Happily, the voices were not amplified.

The versatile William Remmers stepped down from the podium to assume the role of The Proprietor in vaudeville guise, ready to provide guns to the would-be killers. It was a knock-out characterization.

The Balladeer who tells the story of the American Dream and narrates the proceedings was portrayed by Chazmond J. Peacock, in fine voice.

Joshua Miller made a strong impression as John Wilkes Booth--not only in the scene in which he is wounded and tries to justify his murder of President Lincoln, but later when he "inspires" and goads the others to attempt their heinous acts. Of all the performers, his English diction stood out.  We missed not a single word.

Lauren Gismondi made a marvelous Emma Goldman, both looking and sounding exactly right. Her scene with Leon Czolgosz (a fine Duncan Hartman), the killer of William McKinley, was one of our favorites.

For humor we had Lynette "Squeaky" Fromme (Kayla Ryan Walsh) carrying on about her "love affair" with Charles Manson, and Sara Jane Moore (Sarah Marvel Bleasdale gleefully interacting, then hilariously messing up their intended assassination of President Gerald Ford.

Matthew Hughes portrayed the pathetic Giuseppe Zangara who tried to kill FDR, and David Pasteelnick enacted the manic Charles Guiteau who did away with James Garfield. He laughed all the way to the hangman's noose.

Michael Matthias excelled as the patently delusional Sam Byck who failed to rid us of Richard Nixon. Zachary Barnes was fine as John Hinckley, Jr. who tried to kill President Ronald Reagan to make an impression on Jodie Foster!  Jeff Goble was excellent as the weak-willed and suicidal Lee Harvey Oswald, falling under the influence of John Wilkes Booth's spirit.

The 13-piece orchestra, heavy on the brass, was conducted by Benjamin Weiss. Sondheim made good use of the American idiom and at one point quoted Leonard Bernstein. Although the instrumental balance was fine, we felt the volume frequently overpowered the voices, including Mr. Remmers' introduction.

It is also fair to point out that the enunciation was not always as clear as it might have been, particularly on the part of The Balladeer. Sondheim's lyrics are so important that we wanted to hear every word. It occurs to us that surtitles are just as important for English as they are for foreign languages.

Utopia Opera is a perfect example of substituting creativity and imagination for a big budget; they have done so much with paltry resources. There was no scenery to speak of but the costuming (Eric Lamp and Angel Betancourt) seemed quite apropos to the periods. It was quite a challenge to mount a show like this and much credit goes to the company for doing such a fine job. Mr. Remmers himself directed.

It is arguably the job of the artist to hold a mirror up to society and reflect us back to ourselves.  At this performance we felt entertained, enlightened, squeamish, and a bit ashamed of our violent history.  We need to experience our dark side before we can change it. The show has been produced overseas and we can only imagine how Europeans must judge our outmoded infatuation with firearms and revenge.

There will be two shows today, matinée and evening--similarly on Sunday. Can you allow yourself to be entertained and changed at the same time?

(c) meche kroop

MANY HATS, MANY FACES, MANY VOICES

William Remmers

It is always a thrill to learn more about the people of whom one is fond.  We know William Remmers as the producer/director/conductor of Utopia Opera, the unique small company that does such a fine job presenting operas selected and voted upon by the audience. (All reviews archived here.) We surely had a clue that Mr. Remmers' outsize personality and droll presentation were stageworthy but we didn't know to what extent.

We never knew that he has been a member of the Gilbert & Sullivan Society of New York, which has been around for 80 years; he has been president of this society for the past year.  You Savoyards out there would do well to look into this group which meets several times yearly at the Community Church of New York on East 35th St.

That Mr. Remmers could entertain an audience for a couple hours came as no surprise but the variety of his talent is astonishing.  He sings, he acts, he plays piano, and he dances; he is a veritable one man show. We only know one cabaret artist who can keep an audience this spellbound all by himself, and that is Kim David Smith whose talents are different from Mr. Remmers.

Mr. Remmers is unfailingly versatile and endlessly funny. He is an expert with patter songs, of which W.S. Gilbert and Arthur Sullivan have created so many. He is a tall drink of water and thin as electrical tape. His body and face seem made of rubber.

Much of the G&S material in last night's performance, waggishly entitled "The First Annual William Remmers Memorial Concert", came from the delightful 1882 Iolanthe, which found G&S at the height of their compositional power.  "The Law is the True Embodiment" was a smashing way to open the program and "It May Not Be" brought the enchanting evening to a satisfying close.

There were also selections from the 1887 operetta "Ruddigore", the 1888 "The Yeomen of the Guard" and the 1896 "The Grand Duke". The audience comprised mainly members of the G&S Society who knew all the words and gleefully sang along.

With great versatility, Mr. Remmers included lots of other material.  In fine French he sang "Qu'ils Sont Doux" from Gounod's 1858 Le Médécin Malgré Lui and Jaques Brel's 1959 "La Valse à Mille Temps".  And what's this?  The marvelous "I've Grown Accustomed to Her Face" from Lerner & Loewe's 1956 musical My Fair Lady!  Could anything top Henry Higgins???  Well, yes.  What about "I'm Not Getting Married Today" from Sondheim's 1970  Company, usually sung by a woman.  Never mind that, Mr. Remmers did it justice.

More surprises dazzled us.  We didn't know that Mr. Remmers is also a composer and he entranced us by sitting at the piano and playing a number of compositions from his album Seven Songs for Seven Women.  Apparently he is working on another album and played still more compositions; watch out for Shades of Violet!

When Mr. Remmers was not at the piano, the role of accompanist was played by Thomas Z. Shepard who did a fine job.

(c) meche kroop

THE OTHER CINDERELLA

Zen Wu, Melissa Serlluco, Ryan Slone, Jeff Goble, Caroline Tye, Alison Cheeseman, and Hayden DeWitt

When thinking about operatic versions of Cinderella, most people think of Rossini's La Cenerentola. But Massenet's 1899 opera Cendrillon offers many delights, including a luscious score with many fine arias and ensembles and a libretto (by Henri Caïn) that hews more closely to the original Perrault story which was already two centuries old. It can be taken as a tale of a highly dysfunctional family.

Papa Pandolfe (warmly portrayed by Jeff Goble) has taken as his second wife the harridan Madame de la Haltière (the over-the-top Caroline Tye) who has brought with her two spoiled daughters Noémie (Zen Wu) and Dorothée (Melissa Serluco). Pandolfe's daughter Lucette (Alison Cheeseman) is adored by her father, who feels guilty for neglecting her, and barely tolerated by her step-family.  This feels so relevant today when "blended families" are quite common.

William Remmers' Utopia Opera operates under a rather unique concept. Audience members vote online for the operas they want to hear the following season. We are consistently amazed by how Maestro Remmers rises to every challenge and comes up with a solution to the problem of combining entertainment and professionalism on a miniscule budget.

Although we always enjoy ourselves and admire the creativity, last night we were wildly impressed by the superlative performances of every performer and the innovative direction of Mr. Remmers who truly knows how to tell a story and to tell it well. We were engrossed and enchanted.

Although there is no scenery and barely any props, the story is told and told well. Costumes are of the "let's put on a show" variety. We imagine cast members rummaging through closets and coming up with something to express the characters they are portraying.  Most original of all was the black tie,  top hat , white silk scarf, and cigarette holder of The Fairy Godmother. The description sounds odd but, trust us, it worked incredibly well. Her fairy spirits dressed completely in white.

Lucette appears first in dowdy clothes of nondescript color and later in a shimmery garment with sparkly shoes. The henpecked Pandolfe wears a velvet jacket. Member of Lucette's step-family wear lavish ball gowns.

We first saw Cendrillon at the Santa Fe Opera ten years ago in a beautiful Laurent Pelly production with Joyce Di Donato in the title role-- and again two year ago at Juilliard with Julia Bullock. We were delighted both times but there was something about the intimacy of the Utopia Opera production that will stay in our mind.

There are a number of unforgettable scenes that one is not likely to forget!  You must see for yourself.

Massenet's music is deliciously romantic; Remmers' 19-member orchestra did the score justice once Mr. Remmers' baton brought them all together and achieved balance between the strings and the winds. We were particularly taken by the English horn solos of Zachary Rosalinsky which accompanied the love duets. The love duet between Pandolfe and Lucette was just as fine as that between her and Prince Charming.

Ms. Cheeseman made a winsome Lucette, one we could care about. We could feel compassion for Mr. Goble's Pandolfe who just made a bad marital decision. We could laugh at the domineering step-mother and the ridiculously entitled and sulky step-sisters. But we were most enthralled by the otherwordly magic of Angela Dinkelman's Fairy Godmother whose costume played so strongly against our expectations. Massenet gave her the best music and she didn't let him down!

Even the chorus was well-rehearsed. The fine direction led to camera-perfect stage pictures such that we have spent hours editing down the multiplicity of shots. And we must mention the fine French diction that was totally understandable.  Our companion told us that the titles were down for a period and we never noticed!

If you have been tempted to share our joy by attending, you will find the Lang Recital Hall at Hunter College to have superb sight lines and you will be amazed at the ridiculously low ticket prices. This same cast will perform next Saturday night, with a (likely just as fine) second cast performing tonight and next Friday night. You won't be disappointed!

(c) meche kroop