CLASSICAL, LYRICAL, AND ARTISTIC

 Luc Cheng, Glenn Morton, Young Kwang Yoo, Kevin Jasaitis, Sofia Gotch,  Sofia Durante, Sara Stevens, John Viscardi, Eliza Masewicz, Maia Sumanaweera and Samuel Ng

Regular readers recall my enthusiasm for Classical Lyric Arts, a highly esteemed immersive summer training program for young singers  held in France, Italy, and the Berkshires. Here is some great news, Dear Reader! CLA has expanded into an all year program helping recent conservatory graduates to navigate the difficult period of launching a professional career. Assistance is given in many areas including (but not limited to)  navigating auditions and competitions,  choosing repertory wisely, choosing management, and of course the finer points of singing. We think of it as polishing the gems.

Last night a private recital was held to celebrate this launch and the fortunate members of the audience had an opportunity to hear a program of Italian love songs, arias, and duets. What better language than Italian to sing of love! Even speaking Italian sounds like a love song! Our host, Glenn Morton (Artistic Director of CLA), accompanied some of the singers and the talented Luc Cheng accompanied other singers , including Executive Director John Viscardi (a graduate of CLA) about whom more later.

If we have heard a better recital, we cannot recall. The CLA singers demonstrated fine technique in which we can find no flaws. Their Italian was universally perfect, evidence of the fine immersive training they received in Italy. What most astonished us however, was how each singer showed something we call stage worthiness. They not only understood the text and the emotions which generated it, but they managed to employ the dramatic skills learned from faculty member Daniel Isengart, using facial expression, gesture, and the physical space that was available to create believable dramatic situations.

There were about 15 pieces performed and we will attempt to describe a few to illustrate this. In Rossini's Il Barbiere di Siviglia , Rosina persuades Figaro to get a note to the Count. Mezzo-soprano Sofia Durante created the character of the spunky young woman who is going to get her way whilst baritone Kevin Jasaitis was absolutely taken aback by her anticipation of his plot. They were so effective that one could imagine everything that led up to that moment and everything that would follow.

Ms. Durante also showed her aptitude for breeches roles in two scenes. From Bellini's I Capuletti e I Montecchi, we heard "Ah, crudel d'onor ragioni" in which Romeo and his Giulietta (soprano Sofia Gotch) sing a duet of conflict and anxiety. She also made a fine Nerone in duet with Poppea (soprano Maia Sumanaweera) from Monteverdi's L'incoronazione di Poppea. We heard this duet recently in which the singers "sexed it up" which removed the chemistry we felt from this performance as the singers slowly approached each other, heightening the anticipation.  Yes, we all know that Nero and Poppea were terrible people but in this opera you have to want them to triumph and so they did.

In a scene from Mozart's Don Giovanni, Mr. Jasaitis--now suave and perfectly self-assured--seduced a flirtatious Zerlina, adorably performed by soprano Eliza Masewicz. Each showed impressive comprehension of the character at that particular point in the opera.  In a different scene the seductive Don (Mr. Jasaitis who seems to own the role) performed the serenade "Deh vieni alla finestra" gazing upward at an actual window with the unknown woman actually there, lending verisimilitude to the performance.

The Cherry Duet from Mascagni's L'amico Fritz was performed by  Ms. Sumanaweera and tenor Samuel Ng with such intense chemistry that no one could have missed foretelling the romantic ending to the opera.

There were two entries from Puccini's tragic love story La Bohême. The Mimi of Act I was performed in a touching fashion by Sara Stevens, possessor of a huge and gorgeous soprano, who gave her all to "Mi chiamano Mimi". This was followed by "O soave fanciulla" with  Mr. Viscardi as the ardent Rodolfo (a role he just performed in Colorado, a role that fits him like a custom tailored suit).

There were also several more arias and songs to tickle our ears. We love Tosti's songs and Mr. Ng's impassioned delivery of "Ideale" perfectly captured the Italianate style, as did Mr. Viscardi's performance of "Sola tu manchi".

Ms. Gotch created a memorable Gilda from Verdi's Rigoletto, adorning the vocal line with precisely rendered coloratura flourishes. Similar technical precision was evinced by Ms. Masewicz performing "Qui la voce sua soave" from Bellini's I Puritani. We don't want to end without mentioning a funny moment. We were surprised when the photographer (whose photos are guaranteed to be better than ours) was called upon to sing. It turned out that Young Kwang Yoo had been pressed into service as photographer for the event and is actually an opera singer of terrific talent.

© meche kroop

A TALE OF TWO FATHERS

Sarah Mikulski, Joshua Arky, Brian Michael Moore, Young Kwang Yoo, Maestro Thomas Muraco, Yulan Piao, Woo Yong Yoon, Edwin Davis, and Ü Lee

One doesn't generally get to hear a Verdi opera at a music conservatory, but last night we were fortunate enough to hear Luisa Miller at Manhattan School of Music. Presenting a Verdi opera with such a young cast was a risky enterprise but the risk paid off in spades. The evening was a stunning success with first rate musical values.

The opera had its premiere in 1849, thus belonging to the earlier portion of Verdi's "middle period", before his success with Rigoletto. The libretto by Salvadore Cammarano was based on Friedrich von Schiller's play Kabale und Liebe (Intrigue and Love).  It is not part of the standard repertory but we admire it greatly. Like so many operas composed by Verdi, there is a strong emphasis on a father/daughter relationship.

The two fathers could not be more different, but they share one important feature.  Each loves his child and wants the best for him/her. Miller want his daughter to be happy and his only concern is whether the man to whom she pledged her love will be honest and faithful. The Count de Walter wants his son to be privileged and powerful. He has chosen Rodolfo's bride--The Duchess Federica, and will stop at nothing to tear his son away from Luisa, Miller's daughter.

The opera is overflowing with gorgeous melodies. There are arias aplenty and duets for all possible  fach combinations, plus stunning trios and quartets to bring the acts to a close. As the innocent Luisa, soprano Yulan Piao sang with  terrific technique and enough dramatic intensity to get us to care about her character. She has a brilliant instrument and fine Italianate phrasing. The coloratura was so impressive we were thinking "There's a budding Queen of the Night!"

As her lover Rodolfo, Woo Yong Yoon was ardent and used his lyric tenor well, without any of the pushing that bothers us so much in young tenors. His love duets with Ms. Piao were marked by singular harmonic beauty.

As the Duchess that Count de Walter wants his son to marry, mezzo-soprano Ü Lee was resplendent both vocally and dramatically.  Her rich chocolate instrument was employed to great dramatic effect as she created a multi-dimensional character--a woman who has loved Rodolfo since childhood and is suffering a major disappointment that he loves another woman, and yet not at all vengeful toward her rival. The facial expressions and gestures she used as she went through a panoply of emotions were arresting; one could not take one's eyes off her. This gifted artist is also a coach, conductor, pianist, and composer. Additionally she is developing music software.  She is an alumna of MSM, while the other artists are all graduate students.

We were also impressed by baritone Young Kwang Yoo who played Miller, the devoted caring father of Luisa. Their duets were no less fine than those of Gilda and Rigoletto. He has a nice full baritone and an effective stage presence.

As Walter, the sneaky manipulative and threatening father of Rodolfo, bass Joshua Arky showed admirable vocal flexibility for this fach. The only thing that would take his performance to the next level would be some physical flexibility. Even a character we hate has to move around the stage with grace.

As the nasty henchman Wurm, bass Edwin Davis succeeded in creating one of those characters one loves to hate. His bass has a juicier sound than Mr. Arky's and the contrast between the two basses was one of those casting miracles that we love.

Soprano Sarah Mikulski sounded lovely in the small role of Laura and Brian Michael Moore stepped in for an ailing Timothy Lanigan in the other small role of Un Contadino. Please note that the casting for Friday night is different and that Mr. Moore will be singing Rodolfo--ensuring that the experience will be as fine as last night's was.

Maestro Thomas Muraco did a fine job of preparing these young artists for the performance. The maestro conducts with his expressive hands and one can observe him breathing along and silently singing along with them. The score was arranged for two pianos four hands (Jeremy Chan and Jonathan Heaney) with parts taken by the keyboard (Jia Jun Hong doing the organ stuff) and clarinet (Adam Gallob). The melodic lines given to the clarinet were wonderfully played.

The chorus sang well. There was no attempt at costuming or sets. They would have been superfluous. The evening was about the music and we consider it a 100% success. You have one chance to experience this rare treat on Friday night at 7:30, IF you can get tickets. Last night the standby line stretched all the way down the hall. Word must have gotten out!

(c) meche kroop

MOUNTING A BUTTERFLY

Brandie Sutton and Hyona Kim (photo by Jen Joyce Davis)

In Puccini's hit opera Madama Butterfly, the eponymous tragic heroine expresses her fears to the American naval lieutenant that in the USA, butterflies are caught and pinned.  Lieutenant Pinkerton assures her that is to prevent them from flying away. He doesn't tell her that they die.

For us, this story of a 15-year-old geisha, high born but fallen on hard times, is a story of rampant colonialism and child abuse.  It is a love story only in the eyes of "povera Butterfly" who is deluded by wishful thinking; she believes that Pinkerton really loves her when he has only purchased her services along with the house in Nagasaki, an arrangement that favors only him and perhaps Goro, the marriage broker who is nothing more than a pimp.

We have no quarrel with those who see it in a different light but we stand by our opinion. Indeed, Puccini himself was obliged to modify the original 1904 La Scala version which, we believe, having seen it many years ago, was too strong for the public to accept. Conventional wisdom suggests that the first version was unpopular because of inadequate rehearsal but we are left wondering. Puccini wrote four more versions until he was satisfied. Or until the public was satisfied.

Last night, we heard a performance of the opera by a superb cast of young artists--the culmination of six weeks of intense study in Prelude to Performance, Martina Arroyo's decade-long program devoted to developing the talents of those fortunate enough to be accepted. Master classes and coaching are provided in all areas of performance from movement to language to character creation.

We believe it is Ms. Arroyo's emphasis on the latter which enabled us to see artists in non-traditional casting and to forget the inconsistencies. Try to imagine an American naval officer of the early 20th c. and the American consul both portrayed by Asians! Imagine a Caucasian Prince Yamadori!  An Afro-American Butterfly! (Of course, Ms. Arroyo accomplished that feat years ago.)

The entire affair somehow worked, thanks not only to the conviction of the cast members but to the superb direction of Gina Lapinski who provided concrete motivation for each action of each character. Stereotypes were avoided--i.e. Prince Yamadori was anything but the clown he is usually portrayed as. There were no inebriated relatives celebrating the wedding but a chorus of beautiful maidens in kimonos the colors of flowers, raising their voices in delicious harmony, directed by the excellent Noby Ushida. The chorus was heard again in the "humming chorus" at the end of Act II and we have never heard it performed better.

Typical of Prelude to Performance productions, the set was simple but effective--shoji screens suggesting the hilltop house, some flowers, and some panels suspended from on high. Meganne George's set design was significantly enhanced by the evocative lighting by Joshua Rose. In the final scene of hara-kiri, the colors disappear into chiaroscuro with the desperate act taking place behind the screen in silhouette--surprisingly more chilling than the usual "out there" bloody deed.

The singing was excellent for the most part.  Not only did Brandie Sutton grow in stature as the story progressed but her voice bloomed into great beauty. In Act II, her"Un bel di" left the audience astonished with a chorus of "bravas" that might have been heard from Lexington Ave. to Park Ave.

One could not have imagined a better Suzuki than Hyona Kim whose rich mezzo has impressed us on several prior occasions. Every movement, every reaction, every gesture and facial expression revealed depths of character in a fresh manner.

Baritone Young Kwang Yoo made an effective U.S. Consul Sharpless whose thankless duty as the voice of reason goes unheard. But his own voice was very much heard and a pleasure to hear.

Yet another baritone left us wanting a second hearing. Alexander Boyd was regal as Prince Yamadori, the much married aristocrat who would like to add Cio-Cio San to his list. We enjoyed his regal bearing and fine voice, relieved that we were not subject to so-called comic relief.

In the role of Goro, tenor Alexander Lee created a character not a caricature. It was clear that he was an opportunist who lost no opportunity to ingratiate himself. He has a fine instrument and a lovely legato, filling each vowel to its proper metric value.

As The Bonze, Hangzhi Yao, a bass-baritone, impressed us with his onstage authority and deep rich voice. Lindsay Mecher in the small role of Kate Pinkerton appeared suitably uncomfortable. We hoped that she would make a good mother to little Dolore (the adorable Akari Wientzen) and spitefully wanted her to make her husband miserable for the rest of his life!

Tenor Taehwan Ku  had the thankless role of Pinkerton--the entitled exploiter, the child abuser. At the end of Act III, when he sang "Addio, fiorito asil" we could not bring ourselves to pity him. He's a coward who makes a mess and expects other people to clean up after him and cries crocodile tears. The fact that we took the story so seriously is just further evidence of the artists' skill in portraying John Luther Long's tragic story, so beautifully transformed into the libretto by Luigi Illica and Giuseppe Giacosa.

Should you be inspired to share our intense involvement in this excellent production, there will be one more performance Saturday night at the Kaye Playhouse of Hunter College.  Should you be inspired to give financial assistance to the Martina Arroyo Foundation and contribute to the development of these young artists, please keep in mind that it is a rare program that not only provides the six-week training gratis, but also provides stipends for the young artists.  Now that's what we call generosity!

(c) meche kroop

TOUGH LOVE

Hyona Kim and Carol Vaness

The Prelude to Performance participants selected for Carol Vaness' master class Monday night had the benefit of some tough love. The highly esteemed soprano has a great deal to offer a young singer; she approached each one with loving support and very intense criticism. She began with the old "I'm just offering some suggestions that may be useful or not"....but her authoritative and persistent approach yielded impressive results in just 30 minutes or so.

Each and every master class seems to have a theme, generally depending upon a special concern of the teacher. Ms. Vaness is a stickler, and rightly so, for accurate Italian diction--singing the correct vowel as well as observing doubled consonants. A deficiency in Italian diction seemed to plague all the students and it is well that they were made aware of this early in the training.  By "showtime", they should all be perfetto. 

Two lovely ladies worked on the Flower Duet "Tutti i fiori" from Puccini's Madama Butterfly which will be performed July 8th and 9th. The voices of soprano Xela Pinkerton (what a coincidence!) and mezzo Marisan Corsino blended beautifully. The astute coaching worked on the dramatic requirements of the scene--the excitement of Pinkerton's arrival--and how to put more energy into the scene with the use of hands and body. Puccinian style was also covered with the desirability of rubato, stretching out certain lines. The two vocal lines must intertwine and each character relate to the other.

Tenor Taehwan Ku profited by some coaching on Lt. Pinkerton's "Addio, fiorito asil", which he will sing in the performance. His character needed to be more self-centered and motivation maintained in between the sung phrases. More color was encouraged as well as a more flexible phrasing with "money notes" extended. More portamenti were called for. Double consonants must be observed.

Continuing with Puccini, baritone Hangzhi Yao (who will be singing Bonzo) offered "Minnie, dalla mia casa son partito" from Fanciulla del West and Mr. Yao was encouraged to consider Sheriff Rance's motivation (more lust than love). He began singing too sweetly but after the coaching sounded more like a horny sheriff. He also learned not to close his eyes lest he lose contact with the audience. There was more work on Italian diction and also on word coloring, all of it helpful.

Mezzo Hyona Kim, who will be singing Suzuki, got some coaching on Verdi. Her electrifying performance of "Condotta ell'era in ceppi" from Il Trovatore did not prevent her from getting some very strict coaching including vowels, maintenance of tone through to the end of the phrase, and awareness of what the orchestra is doing. We liked the stretching out of "figlio mio".

Baritone Young Kwang Yoo, whose role will be Sharpless, sang one of our favorite baritone arias "Io morro, ma lieto in core" from Verdi's Don Carlo.  It was pointed out to him that Rodrigo is dying and the therefore not moving around much. He worked on taking his time and staying "on the voice" even when singing pianissimo.

Finally, Lindsay Mecher, who will be singing Kate Pinkerton, sang "Una voce poco fa" from Rossini's  Il barbiere di Siviglia. She learned to make the rhythm snappier, to correct the vowels, to put energy into the repetitive phrases and, above all, to be playful, using both body and face. 

Each singer brought to the class an excellent voice and a willingness to accept criticism. Each singer worked hard in the class and changed significantly. We are in a state of high anticipation to hear how these gorgeous voices, heard at the beginning of their intense training, will sound by the time of the performance. 

(c) meche kroop

CAN'T BEAT THIS TOM-TOM

Thomas Muraco and cast of La Bohème at Manhattan School of Music

Giacomo Puccini's La Bohème is arguably the favorite opera of many; however, some opera lovers of our acquaintance refuse to see it unless there is a notable debut in one of the roles at The Metropolitan Opera.  Indeed, the Zeffirelli production is spectacular and astonishingly realistic and also tends to overwhelm the story and the singers.  Not so the production we enjoyed last night at the Manhattan School of Music.

Conductor Thomas Muraco guided his Opera Repertoire Ensemble through an intimate and involving production; he clearly loves this music and his young artists, most of whom are graduate students working on their Master's Degree.  If great sums of money were not lavished on the production, compensation was in the form of attention to detail and the achievement of intimacy.  The emotional intensity built slowly from the first act--all horseplay and romance--to the last, which left us in tears.  Such involvement is worth more than fancy sets.  What more do we want from opera than to be transported to another century, another country, another life?

In this case, we are in late 19th c. Paris in the world of starving artists and the women who love them.  Tuberculosis is running rampant and would claim the life of Mimi by the final act, forever altering the lives of these carefree young people. We are made to think of the late AIDS crisis which claimed so many young lives.

The orchestra was supplanted by two pianos, four hands, belonging to Jeremy Chan and Dura Jun with Yeon Hwa Chung's harp making significant contributions.  Mr. Muraco himself did the orchestration and we were able to hear strands of melody and motives that have gone unnoticed when hearing a full orchestra.  

The singing and acting were equally impressive.  No director was credited and we were given to understand that the young artists came up with the stage business themselves.  Perhaps that was why we found the storytelling to be so effective.  Who knows youth better than the young?  Witness the horseplay in Act I and Act IV.

In Bryn Holdsworth we met a slightly different Mimi--not quite as innocent as other Mimi's we have seen.  She used her lovely expressive soprano and her highly expressive face and gesture to show us a young woman a bit desperate for her next meal, a bit sly in her seductiveness, a bit manipulative--but also capable of deep love for Rodolfo.  It was a stellar performance, given her fine phrasing and just right vibrato. We couldn't take our eyes off her as she eavesdropped on the duet between Rodolfo and Marcello in Act III as she= is being confronted with the loss of her own life.

Brian Michael Moore made an ardent Rodolfo and his inability to accept Mimi's death at the end arose from a deep understanding of the character. He knows she is dying by Act III but he doesn't really let it register. He is living in denial. His fine tenor faltered a bit in Act I, probably a consequence of pushing for volume at the top of his register, but he settled in nicely for the rest of the performance.

Young Kwang Yoo's pleasing baritone was just right for the lovesick Marcello. He's the one the two lovers consult (separately) when their romance is in trouble; he reacts just the way a young man would.  And then, just as a young man would, he behaves in a manner contradictory to his advice. His duet with Mimi was just gorgeous.

As Musetta, his love interest, soprano Yun Melody Xie played the part to the hilt, much to the audience's delight.  Her bright instrument and expressive body conveyed everything we needed to know about this survivor who uses every tool at her disposal to get by.  Her Act II aria "Quando me'n vo" was spectacular and so was her red gown.  We loved the way she tormented her elderly date Alcindoro (Stefano de Peppo) who also played the part of Benoit the landlord in Act I.  What a handful!!!

The delights of Act I involved not only Rodolfo and Marcello but also Colline the philosopher and Schaunard the musician.  Schaunard (excellent baritone Juan Daniel Melo) tells his hilarious tale of poisoning the parrot and the three "bohemians" sit around the table devouring the provisions he has supplied owing to his latest job.  His fine baritone went unnoticed by his flatmates but not by us.

Joshua Arky used his bass voice well in his portrayal of Colline.  The horseplay from Act I has been recapitulated in Act IV but the tone is rapidly changed when the dying Mimi is carried upstairs.  Everyone is sacrificing something and he is pawning his "Vecchia zimarra". Clearly, he is saying goodbye to his innocent youth, not just his old overcoat.

Similarly when Musetta is praying for Mimi, her candle goes out just about the time Mimi expires.  Witnessing the story in a small space, up close and personal, provides many such precious moments that we will recall the next time we see the opera. Unlike some of our friends, we hope that won't be too far in the future and we won't need to wait for a big debut at the Met.