MADAME BOVARY, the musical

We are continuing our exploration of the American musical and trying to decide if this popular art form is the contemporary equivalent of 19th c. opera--popular entertainment in the language of the country of origin.  Paul Dick has adapted the novel by Gustave Flaubert and written the music and the lyrics; it is being presented UNAMPLIFIED in a black box theater at the Roy Arias space.  It was entertaining.

Does anyone not know the story of the romantically inclined young woman living in provincial France in the late 19th c.?  To a 21st c. woman, it is difficult to imagine her counterpart in that epoch without options.  There was no life for a woman without marriage and our heroine marries a country doctor who comes to tend to her father.  She rapidly succumbs to the tedium of being a wife without ever learning what it means to be a woman or even a person.  She descends into orgies of "shopping therapy" and a couple tawdry affairs and finally, deeply in debt, she kills herself with arsenic.  Sad story.

Mr. Dick has hewn fairly close to the book and has retained the original time period but has modernized much of the dialogue, making it familiar to contemporary ears but paying the price of loss of authenticity.  His music is tuneful and accessible; it was excellently played by Music Director Rebecca Greenstein and an orchestra was never missed.  The lyrics scanned and rhymed and were often clever, as in "I Insist!" or just plan lovely, as in "Rain on the River" in which the listener could hear the rain falling.

Direction and choreography were by Marlene Thorn Taber who kept the story moving along.  The minimal set design--a bed, a table, some chairs and an authentic appearing pharmacist's corner--were by Aaron Sheckler.  Period appropriate costuming was by Roejendra Adams.

The performances were of variable quality.  The weight of the show was carried well by petite soprano Hayley Hoffmeister as Emma Bovary; her acting was as good as her singing.  To her credit, she was able to arouse empathy for this unfortunate heroine.  Her boring but devoted husband was played by Roger Rathburn whose speaking voice was beautifully resonant but whose singing voice seemed frayed; we wondered whether he was meant to appear the age of her grandfather and felt that this casting choice added another dimension to Emma's unhappiness, one which was not in the novel.

As Rodolphe, Eyal Sherf was appropriately slimy as he plotted in advance how to seduce and abandon Emma; the audience's laughter seemed a bit inappropriate but, then again, that was written into the libretto and was never emphasized in the book.  More laughter, also deliberate, was provided by Christopher G. Teft who made the most of his role as Homais who manipulates Emma into buying things and then throws her into bankruptcy.

Leon was played by Patrick Thomas Spencer who did not convince.  In the ensemble were John Raymond Barker, Alison Novelli, Mia Rose Spackman and Carl G. Zurhorst.

It was a fine way to end the holiday weekend and we will be looking for more musicals by Mr. Dick who seems to have already written quite a number of them.

© meche kroop

THE TRIUMPH OF UNDERWORLD PRODUCTIONS OPERA

Eric Brenner and Elise Jablow (photo by George
Tsugranes)

There's a very special feeling when an audience rises as one to give a standing ovation.  One knows one has been a part of a very special evening--in this case the New York premiere of Alessandro Scarlatti's comic opera Il Trionfo dell'Onore, which was first presented in 1718 in Naples.  This was contemporaneous with Handel operas but, unlike them, clocks in at just over two hours--and two delightful hours they were.

The story concerns a libertine named Riccardo (sung by male soprano Eric S. Brenner) who escapes the law in Lucca and comes to Pisa with his sidekick Capitano Rodimarte Bombarda (a big-voiced and very funny baritone Stephen Lavonier).  Two lovely ladies are pursuing Riccardo--both have been seduced and abandoned.  Leonora (sung by mezzo Maria Todaro) and Doralice (sung by soprano Elise Jablow) have voices that blended together impressively in their first act duet.

Riccardo is trying to get money from his uncle Flaminio (sung by Christopher Preston Thompson) who is betrothed to the local lady Cornelia (the excellent and very funny soprano Briana Sakamoto) but who is lusting after Cornelia's servant Rosina (sung by adorable and spunky mezzo Catherine Leech).  Also arriving in Act II is Erminio (sung by the impressive mezzo Stephanie McGuire who successfully negotiated all the changes of register), brother to Leonora and betrothed to Doralice.  This poor fellow must defend his family's honor and reconcile himself to his faithless fiancée.

Comparisons to Mozart's Don Giovanni can't be helped, but in this case the libertine repents in a splendid aria and everyone gets happily paired off in the end; the final octet is a gorgeous earfull.

The direction by Artistic Director Gina Crusco was superb; the action never let up and every gesture felt organic.  There was no straining for laughs.  Michael Minahan's set was simple but effective--a little table with two chairs on the left and the facade of a house with windows on the right.  Nothing more was needed. 

The costuming by Edgar Cortes was original.  During the overture, the eight performers lined up in identical white tunics, printed pants, white pumps and powdered wigs.  A woman in contemporary casual attire billed as a "casting agent" (Kelli Butler) but appearing more as a costumer or props person distributed accessories to suit each character.  The captain received epaulets, the servant an apron, Riccardo a codpiece, Cornelia a "dowager's hump", Erminio a breastplate and the ladies roses for their hair.

Musical values were superb on all counts.  Conducted from the harpsichord by Music Director Dorian Komanoff Bandy, Sinfonia New York comprised a string quartet plus oboe and recorder.  Evidently a lot of research was done by Mr. Bandy whose concept involved fidelity to the early 18th c. practice of taking liberties with the continuo and with original ornamentation suited to each voice.  He claimed to expect audiences to be shocked or unsettled by these liberties; not so!  We were only delighted.

© meche kroop

SOMETHING TO CELEBRATE

Last night we celebrated the 25th Anniversary of NYFOS.  We celebrated the vast contributions made by Artistic Director Steven Blier and his Associate Michael Barrett.  We celebrated our broadening appreciation of different types of songs.  We celebrated the countless gifted singers and composers who contributed to the success of this venture over the past quarter of a century.

The woman sitting next to me had never heard of Mr. Blier until she read the touching tribute in the New York Times.  It was a "Where have I been all this time?" moment for her and we understood completely.  Mr. Blier's diligence, perseverance and fine ear for a fine song, combined with his delightful sense of humor have combined to create series of recitals (he doesn't like that word) or events that open our ears to the magnificence we may otherwise have overlooked.  His droll narration and his astute choice of artists continue to delight us.

From the rousing ragtime inflected opener "Play That Barbershop Chord" sung by James Martin to the beautifully sustained final note of "If It's Magic", sung by Darius De Haas, we heard a bountiful smorgasbord of songs in English, French, German, Portuguese and Spanish. 

We just about swooned over NYFOS' Comedian Harmonists, five of our favorite Juilliard guys (Kyle Bielfield, Miles Mykkanen, Nathan Haller, Philip Stoddard and Leo Radosavijevic) clearly inspired by the German Pre-WWII close harmony group, singing "Mein Onkel Bumba".  They not only sang but had the choreographic moves down pat.  Another favorite Juilliard singer, the divine Julia Bullock, began the stirring "I Wish I Knew How It Feels to Be Free" a capella .  Wow!

Not only were Mr. Blier's current students represented but dear friends and colleagues from the past joined in the fun, and fun it was!  Our favorite LMAO moment was Mary Testa singing "I'm Going to Make You Beautiful".  It was equally thrilling to hear William Bolcom play his own composition "Black Max" with Joan Morris singing; "The Bird on Nellie's Hat" from 1908 was another hoot, as was Andrew Garland's "He Never Did That Before".  Sari Gruber's humor was a bit more on the wry side in "Just Like a Man".

In a more serious vein, we enjoyed Joseph Kaiser in Kurt Weill's "Love Song" and even more in Korngold's "Sommer" with his impeccable German.  Amy Burton and John Musto were on hand and we liked the French riffs in "Le chaland qui passe" but especially Mr. Musto's own "Penelope's Song".  There was pathos to spare in a selection from the recently heard (Opera Hispanica) Maria de Buenos Aires sung with great depth of feeling by Jennifer Aylmer and Ricardo Herrera, whose final diminuendo was stunning.

Judy Kaye took a Gershwin tune "Nice Work If You Can Get It" for a nice spin and Mr. Martin used his powerful voice to read a poem by Langston Hughes "Harlem Sweeties" before singing W.C. Handy's "Harlem Blues".  Some Portuguese songs were performed by Ms. Aylmer, Mr. Herrera, Jeffrey Picón, and Jesse Blumberg (who was reviewed two days ago).  The tables were turned on Smokey Robinson's "My Guy", sung by a male quartet (Mr. Mykkanen, Scott Murphree , Mr. Blumberg and Adrian Rosas who had some low notes that would outdo the tuba).

At the conclusion, the audience jumped to its feet as one and expressed their enthusiasm.  Mr. Blier said he hopes to continue for another 25 years.  To this we say..."Cent'Anni!"

© meche kroop

IF MUSIC BE THE FOOD....

Vira Slywotzky, Scott Murphree, Richard Pearson Thomas, Jesse Blumberg

Yes, music is food for the soul and last night at Weill Recital Hall we not only had our taste buds stimulated but we felt deeply satisfied and well nourished by Concert à la Carte, a recital of songs inspired by food.  It is "rare" to experience a recital as pure fun but this one was so "well done" that we can think of no better word to describe it.

Presented by Mirror Visions Ensemble, under the direction of Tobé Malawista, our only criticism was that the program was too short.  We would have welcomed a second half.  Not that any courses were missing.  Not that we left hungry.  It was just like a delicious meal where you want a second helping even though you are satisfied.

The singers included soprano Vira Slywotzky, just reviewed for her winning performance as Madame Paula in LOONY's Sweethearts, tenor Scott Murphree known from NYFOS and baritone Jesse Blumberg who is well known for his 5BMF, Five Boroughs Music Festival.  They were joined by Naho Parrini on the violin, Katherine Cherbas on the cello and Richard Pearson Thomas on the piano. 

Mr. Thomas was also the composer of the final work on the program, a cantata in celebration of sustainable food entitled Clean Plates Don't Lie.  This was a delightful piece of music with plentiful melodic invention and interesting weaving of voices with the strings.  We are always tickled by the skewering of people's obsessions and in this case the entire "farm to table" movement was gently satirized.  We heard arias, recitatives, a passacaglia, a fugue, choruses and a chorale with gorgeous harmonies.  The text comprised lists of ingredients from the menu of a well known restaurant which champions sustainable eating. 

Other songs were no less fun.  We have always loved Cole Porter's "Come to the Supermarket in Old Peking", sung by the trio.  Stephen Schwartz's "Bread" from The Baker's Wife, also sung by the trio, had some enormously clever internal rhymes and made everyone's mouth water.  (Isn't English a great language for clever rhymes?)

"Tango du Dessert" by Christopher Culpo was nothing more than a recitation of the flavors of sorbet at Berthillon.  Mmm!  This was commissioned by Mirror Visions Ensemble and a worthy addition to the program.  Another personal favorite was Leonard Bernstein's "Tavouk Gueunksis" from La Bonne Cuisine, merely a recipe for breast of hen but with music that sounded to our ears a bit like Ravel's Don Quichotte à Dulcinée. Mr. Blumberg sang it with panache.  Betty Crocker's mid 20th c. recipe for Tuna Supreme was the text for Mr. Thomas' other contribution to the program.  Hearing what people ate 63 years ago was a hoot.  Perhaps it's time to stop writing and whip up a batch!

© meche kroop

TAKING SIDES ON SONDHEIM

Perhaps Mr. Sondheim would not agree with our opinion but after delighting in Side by Side by Sondheim at The Manhattan School of Music, we consider his works to be operas.  They tell engrossing stories that are relevant to the audience; the music and the stories work together in a way similar to the operas of the 19th c.  They represent a continuation of the tradition far more than so-called "serious operas", the ones that we force ourselves to see once and never want to see twice.  American Musical Theater has evolved out of the operetta tradition and those works evolved from the opera tradition.  Well, no matter what you call them, they are superb.

The production given by MSM's American Musical Theater Ensemble was as superb as the work itself; we could see it transferred intact directly to Broadway!  Narrated by the singers themselves, the anthology of songs was introduced with a bit of background about the shows from which they came.  Carolyn Marlow directed the students of her ensemble with a sure hand; every gesture and action appeared motivated by the lyrics.  Vocal professionalism married with dramatic effectiveness and fine musical values added up to more than the sum of the parts.

The setting by Shawn Kaufman offered little besides a shimmering silver curtain and two pianos, played with high spirits by Musical Director Shane Schag and Eric Sedgwick..  The simple costumes of black and cobalt blue by Rachel Guilfoyle did not distract from the main event--the music.

And what music it was!  The rousing opening "Comedy Tonight" from A Funny Thing Happened on the Way to the Forum was a perfect choice for starting things off with high energy.  Every song was a jewel but let us just mention a few that were for us highlights.  We loved Julia Suriano, just a sophomore in a group of graduate students, and Chelsie Nectow in "If Momma Was Married" from Gypsy (for which Sondheim wrote the lyrics and Jule Styne the music).  Ms. Suriano impressed us later with her interpretation of the flight attendant in "Barcelona" from Company.  Her sperm-of the-moment was beautifully portrayed by Kim Johansen.  We enjoyed this young performer once again in a unique interpretation of "Broadway Baby" from Follies.

Maren Weinberger and Clayton Brown were delightfully convincing  in "You Must Meet My Wife" from A Little Night Music; he waxed rhapsodic about his virgin bride and she did everything but roll her eyes.  What fun!  Ms. Weinberger has a flair for comedy as revealed in "I Never Do Anything Twice" from The Seven Percent Solution.

"Send in the Clowns" is one of our favorite songs and it was finely delivered by Christine Price who, with Ms. Weinberger, sang a moving operatic version of "A Boy Like That" from West Side Story (music by Leonard Bernstein).  Ms. Price was joined by Ms. Nectow and an hilarious Peter Tinaglia in drag for "You Gotta Get a Gimmick" from Gypsy--a number that gave costumer Rachel Guilfoyle a chance to shine and the audience a chance to laugh out loud.  Laughing out loud was also earned by Kendrick Pifer in "The Boy from..." from The Mad Show (music by Mary Rodgers).

As far as Colleen Durham's choreography, just look at those tappy-toes in "We're Gonna Be All Right" from Do I Hear a Waltz?;  Chelsie Nectow and Clayton Brown really showed their stuff!  If prizes were awarded for the Best Diction, we would choose Maren Weinberger for her "Losing My Mind" from Follies.  Accustomed to hearing German and Italian, we find that English is more difficult to comprehend; when lyrics are as special as Sondheim's are, we would have wished to grasp every single word.  We are not sure whether amplification makes it any easier; possibly the opposite is true.  In any case, in spite of the tradition of amplification on Broadway, we couldn't help wondering how the show might have sounded without body mics, taking into account the well-trained voices we were listening to.  Just sayin'.

©meche kroop

THE FINAL CURTAIN

Alexander Lewis and Brian Wagorn

The season of recitals by Lindemann Young Artists ended with a bang of an encore--"Our Times" from Stephen Sondheim's Merrily We Roll Along, as fine an aria as was ever written in bygone centuries and accorded the same respect by the thrilling tenor Alexander Lewis.  The entire recital was remarkable and it was obvious from the very start that Mr. Lewis chose songs that he loved and related to.  We felt as if we were invited into Mr. Lewis' world.

Mr. Lewis' world is broad in compass; he uses his expressive voice along with gesture and body language to convey the deepest meaning of a song, be it funny, sad or ironic.  The texture of his timbre is as pleasing as it is varied and he thankfully never pushes for a high note, a fault of most young (and not-so-young) tenors that hurts our ears.  As a matter of fact, his technique is so refined that one never notices it and is able to focus on his artistry.

He opened the program with selections from The Purcell Collection which were realized by Benjamin Britten.  Mr. Lewis' cheekiness, most notably in "Pious Celinda goes to Prayers", married well with the nature of these brief jewels but he switched gears readily for the tragic "Elegy on the Death of Queen Mary", sung in Latin.

Following, he sang eight charming songs written by Schubert when the composer was but 17-18 years old, an age at which today's youth is doing nothing more than skateboarding or watching TV.  The texts by Ludwig Hölty are delightful and have been set by other composers.  Each and every one merited second and third hearings, imbued as they are with the freshness of youth.

We know Bellini as the composer of operas in which the arias have long arching phrases, so beloved by singers and listeners.  His song "Torna, vezzosa Fillide" took us by surprise with its short phrases.  It was composed for voice and piano but Bryan Wagorn's exuberant pianism brought in all the richness of a full orchestra.  Arpeggios, chords and runs seem to drop like pearls from Mr. Wagorn's fingers.  Mr. Lewis conveyed every drop of the shepherd's despair as he mourned his lost love.

Reynaldo Hahn's Venezia, a collection of lovely graceful songs, was performed in such an Italianate style that we were sure Mr. Lewis had some secret Italian genetic material.  We do love barcarolles and Mr. Wagorn's piano had us swaying in our seat.  Some of the songs are incredibly romantic and others are ironic.  Mr. Lewis' dramatic chops echoed his talents on the opera stage, which we have long enjoyed.

The judges who gave awards to Mr. Lewis certainly knew what they were doing.  It took a lot of hard work to make everything look so effortless!

© meche kroop

A SWEETHEART OF A SHOW

We confess to having been ignorant of the glories of operetta until recently; now we cannot get enough.  Victor Herbert's Sweethearts, while never one of his more famous ones, is chock full of delights to the eye and ear.  Light Opera of New York gave this charming work a fine production, using a revised libretto by Alyce Mott and the late Dino Anagnost.

The silly but enormously entertaining story concerns a royal infant put into the arms (well, into the tulip patch) of the worthy Dame Paula (Vira Slywotsky) who runs a laundry in Bruges under the name of Mother Goose with her daughters whom she calls "goslings".  The child's birth country has survived a revolution and is now calling for the return of the monarchy.  Will the child, now a beautiful young woman, be discovered and returned to the throne or will the handsome prince (Peter Kendall Clark) be crowned instead?  Well it all works out in the end in spite of the machinations of the spiteful Liane (Stefanie Izzo) , the scheming playboy Lieutenant Karl (Eapen Leubner), the rascal Mikelovsky (Victor Khodadad) and other assorted fortune hunters.

The action is narrated by Dame Paula and Ms. Slywotsky was as effective dramatically as she was vocally.  The two romantic female leads were equally fine although we thought Ms. Xanthopoulu might have played her part with a bit more innocence to contrast with the worldly wise nastiness of Ms. Izzo.  Mr. Kendall Clark made a fine princely male lead with a fine resonant voice and Mr. Leubner was appropriately cast as a military man.  There was not a vocal weak link.

The role of Von Tromp was played by Jonathan Fox Powers and David Seatter was a very funny Slingsby--both excellent.  The four "goslings" made some marvelous music together--Samantha Britt, Katherine Corle, Eva Giorgi, and Gillian Hassert.  The four soldiers were played by Brian Long, Christopher Nelson, Adam Strube and Miguel Angel Vasquez.

Director Gary Slavin did a commendable job making sense of this screwy story and moving people around a small stage with no scenery to speak of.  Wisely, the work was presented "straight" and with consummate respect; there was not a whiff of condescension.  Costumes by Stefanie Genda were colorful and well suited to the time (beginning of the 20th c.) and place.

Mr. Herbert's frothy music, under the direction of Conductor Michael Thomas was glorious.  The tunes are delightfully melodic, many of them in waltz-time.  We heard echoes of Gilbert and Sullivan and even a song that foreshadowed Sondheim.The small orchestra comprised Jeremiah Oliver at the piano with violin, cello, bass and flute making valuable contributions to the texture; notable was the variety of percussion effects played on a variety of instruments. 

LOONY is a perfect example of a small company that does much with limited resources.  There was nothing about the production to suggest economy; we don't know how they did it but they did it.  We will be sure to augment next year's opera-going with some operetta-going!

© meche kroop