TURKEY vs. ITALY

Hyesang Park (photo by Ken Howard)

Of course we are not familiar with every single opera company in the USA but we would be surprised if any of them could put on a better show than Juilliard Opera.  If they presented a couple dozen operas each season we would be reviewing every last one. But of course, that is not possible and we must be content with three every year. We consider them major events on the New York opera scene.

Perhaps each one is a gem because such care is taken to hire the very best artistic and musical staff in the field.  Perhaps it's because so much care is taken with casting from among a group of singers that are so outstanding, all of whom are singing around the country in operas and recitals as well as winning competitions.

Last night's opening of Rossini's Il Turco in Italia was a resounding success. Composed two centuries ago when Rossini was but 22 years old (but with several successes under his compositional belt), the opera was a bit advanced for the moralistic Milanese population but went over far better in Rome and Naples.  The work achieved a second life when Maria Callas sang the lead in Rome in 1950 and hasn't been heard in NYC since Beverly Sills performed the role in 1978 at the New York City Opera.

Scintillating soprano Hyesang Park knocked our socks off last night as the fickle Fiorilla who manages men like a juggler keeping all his balls in the air.  First there is her cuckolded husband Geronio, sung by Polish bass Daniel Miroslaw; then there is her steady companion/lover (cavalier-servant) Narciso, sung by tenor Joseph Dennis; and finally the newly arrived Turkish prince Selim, performed by the very funny bass-baritone Michael Sumuel.

The meta-premise is that a Playwright (baritone Szymon Komasa) is stumped for ideas while visiting a spa in Naples and decides to both observe and manipulate the characters to advance the plot of his play.  The marvelous mezzo Kara Sainz portrays Zaida, a Turkish woman once in love with Selim, but now working at the spa; Albazar (tenor Nathan Haller) is her landsmann, now managing the spa. Just imagine the complications which ensue as Fiorilla tries to ensnare Selim!

We are delighted to report that the voices--every single one--excelled in their handling of the bel canto style.  Furthermore, the comic acting was fine all around; this is not a farce and it's more than an opera buffa.  It is a comedy of manners and the final resolution of the romantic adventures and misadventures is a bit shy of happy, even though the lovers and marital pair are reconciled.

In a stroke of luxury casting, we noticed that the chorus comprised several of our favorite singers--including Takaoki Onishi, Avery Amereau, Joe Eletto, Kurt Kanazawa, James Edgar Knight, Tyler Zimmerman and several other.  It was fun picking them out.

We hope you will still be able to get tickets to the subsequent performances and that you will notice some of the highlights we particularly enjoyed: the sparkling overture; Fiorella's aria sung with the arriving Turkish sailors singing a minor key chorale; the playwright instigating a catfight between Fiorella and Zaida, the towel fight between Selim and Geronio; the duet between Selim and Fiorella; Albazar's deeply felt aria. Oh well, there were too many outstanding moments to list them all.

A true coup was getting the superstar conductor Speranza Scappucci to lead the Juilliard Orchestra, equal contributors to the evening's success.  We hope the term does not sound rude but this beautiful woman is a "podium animal".  Rossini's pen never failed to turn out an endless supply of melodies that make our heart sing.  And her baton brought out the joy and sparkle of each one.

Director John Giampietro made some minor adjustments to fit the plot into a new time and place.  The band of gypsies were converted into spa workers and the work took on the flavor of the films coming out of Italy in the late 1950's and early 1960's.  This served the comedy well and did not detract at all.  Mr. Giampietro is a superb storyteller.

Scenic Designer Alexis Distler scored with an impressive spa, replete with palm tree, white latticework, rows of chaises longues and several dispensers of mineral waters. Lighting Design by Derek Wright was effective.  Costume Designer Sydney Maresca contributed smashing red and white uniforms for the spa staff, throwing in a doctor with a stethoscope. Fiorilla was dressed as perkily as her capricious nature called for. 

Our sole quibble was the Turkish-vested fellow wandering around onstage carrying a model of a sailing ship.  We never did figure out who he was!

(c) meche kroop

THIS MISS IS A HIT but THE HIT IS AMISS

Elvira and Mustafà's Harem in Utopia Opera's L'Italiana in Algeri

Stage Director and Conductor William Remmers had a radical concept for Rossini's first attempt at comedy--his 1813 L'Italiana in Algeri.  He achieved consistency within this concept, that of emphasizing the terrorism and violence, but paid the price of sacrificing the comedy.  In his version, Mustafà is not the corpulent buffone he was meant to be but a lean, mean and violent military dictator.  When Angelo Anelli wrote the libretto, all Europe was fascinated by all things Turkish, which meant the Ottoman Empire, actually already in decline.  Algeria at that time was part of the Empire, hence the title.

But updating the opera to the 20th c. brought it perilously close to our own time and the military costumes and assault rifles became an uncomfortable reminder of the Age of Terrorism, making laughter difficult.  This Bey was not a buffoon; the portrayal made it difficult to accept his being so easily tricked by the wily Isabella.

Sung by the radiant mezzo Caroline Tye, Isabella is emblematic of the modern woman and her feminine wiles contrasted beautifully with the submissive nature of Mustafà's rejected wife Elvira, sung by sparkling soprano Patricia Vital and her handmaiden Zulma, winningly sung by mezzo-soprano Kristin Roney.  

All three women sang superbly with excellent diction and enviable control of the embellishments.  Their skill at bel canto singing was impressive and made the evening a worthwhile one.  We loved the way Ms. Tye sang "Cruda sorte....Amor tiranno" and "Per lui che adoro", which we haven't enjoyed so much since Stephanie Blythe sang it in Santa Fe a dozen years ago!

One male role stood out as well, that of Taddeo, Isabella's traveling companion.  Jia-jun Hong exhibited admirable comedic skills as well as a fine voice which he used well. Still very young (perhaps as young as Rossini was when he composed this dramma giocoso) he is a talent to watch.

We wish we could have enjoyed the other male leads as well.  Bass Duncan Hartman sang reasonably well in spite of a vocal indisposition but seemed cast to fulfill Mr. Remmers' concept. He just didn't match the ridiculous figure we wanted to see. 

Tenor Chad Cygan neither looked like a romantic hero that the desirable Isabella would have gone searching for nor did he have the vocal chops for the role.  He handled the rapid-fire patter quite well and most of the recitativi but the upper half of his register was uncomfortably and unattractively strained.  This is regrettable since Rossini's melodies are so enchanting.

Roman Laba made a fine captain of the army, wearing a red fez.  Eric Lamp and Victor Ziccardi doubled as soldiers and slaves. They made some fine moves in a little dance. Jordana Rose, Erica Koehring and Winnie Nieh played members of the harem.

The manic energy of the ensembles with which Rossini generally ends each act were quite well done vocally but disturbing dramatically.  Act I ended in a virtual bloodbath with characters all attacking each other with guns, knives and robes.  When Act II began, all the characters wore bloody bandages, braces and crutches.  EWWW! Lindoro looked like Quasimodo.

The 17 member orchestra played well for the most part with occasional lapses of intonation.  We loved the pizzicato opening of the exciting overture after which the melody gets tossed around by the winds. Samuel Marques played some fine solos on the clarinet and Susan Morton was superb on the harpsichord. Mr. Remmers conducted with his customary gusto.

With audience-selected operas and a minuscule budget, it is amazing what Mr. Remmers can pull together.  There was, as usual, no set; costumes probably were assembled from the singers' very own closets.  

The feisty Utopia Opera has a most unusual double bill coming up in March.  Watch for it!  You may wish to vote online for next year's operas.  Participate!

© meche kroop

OPERA INDEX MEMBERSHIP PARTY

Joseph Eletto

Michael Fennelly, Josh Quinn, Evan LeRoy Johnson, Jane Shaulis, John Brancy, Ryan Speedo Green and Opera Index President Murray Rosenthal

We can scarcely believe what goes on in church basements these days!  Luminaries of the opera world joined a roomful of opera lovers to celebrate Opera Index and its 31st competition.  Over $50,000. was awarded to 15 young artists, 5 of whom performed for members of Opera Index, an organization that supports young singers--an organization you should join if you haven't already.  Membership is a paltry $45!

You may notice that only four of these young artists are in the photo above, the reason being that baritone Joe Eletto was obliged to leave for a rehearsal immediately after his vocally and dramatically excellent performance of "Come un'ape ne' giorni d'aprile" from Rossini's La Cenerentola.  He conveyed every nuance of humor as Dandini comments on the pair of stepsisters.  Rossini underscored the humor with a clutch of staccato notes which Mr. Eletto handled effectively.

Bass-baritone Josh Quinn has a large round and mature sound which he employed effectively in "O, du mein holder Abendstern" from Wagner's Tannhäuser.  His ardent delivery made the aria incredibly moving and the size of his voice did not diminish his flexibility in the melismatic passage.  Mr. Fennelly's accompaniment was particularly lovely.

Tenor Evan LeRoy Johnson has a sweet youthful sound with an impressive expansion at the top and a sensitive touch with dynamics which served him well in "Salut! demeure chaste et pure" from Gounod's Faust.  He maintained that lovely even French line and exhibited some very nice diction.

Baritone John Brancy has a soulful delivery that imbues every word with deep meaning and we greatly enjoyed his vocally refined performance of "Pierrot's Tanzlied" from Korngold's Die tote Stadt, much as we enjoyed the two Korngold songs he sang last night at New York Festival of Song.  This one is filled with nostalgia and yearning and went straight to the heart.

Bass-baritone Ryan Speedo Green ended the recital on a humorous note as he gave an outstanding performance of "La calunnia" from Rossini's Il barbiere di Siviglia.  His large frame and expansive sound combined with an abundance of dramatic flourishes to leave the audience smiling from ear to ear.

All of these young artists are busy singing around the country and have impressive resumés.  How fortunate we felt to have them serenading us!  Since there was not a female winner present, Jane Shaulis contributed a delightful performance of the very funny Cole Porter song "The Physician".

As if that were not enough, Mr. Brancy thrilled us with an encore--"Maria" from Bernstein's West Side Story.  He spun the high note so beautifully!  And Mr. Green sang "This Nearly Was Mine" from Rodgers and Hammerstein's South Pacific with great depth of feeling.  We are convinced that the "American Musical" is just another iteration of opera.

Mr. Fennelly's skill as accompanist has been appreciated for several years.  The evening ended with a buffet dinner supplied by Opera Index members.  It seems unnecessary to say that those who love good music love good food.  We left satisfied in body as well as spirit.

There are ten more winners to be enjoyed and appreciated at upcoming events.  For further information, go to www.operaindexinc.org.  Join the party!

© meche kroop

MAN OF THE (50 minute) HOUR

Janai Brugger, John Brancy, Steven Blier and Michael Barrett

Our dear Steven Blier seems never to run out of original ideas for recitals for New York Festival of Song, of which he is the Artistic Director.  Last night's recital was entitled "Art Song on the Couch: Lieder in Freud's Vienna" and Mr. Blier introduced the program from the piano by describing Gustav Mahler's four-hour session walking with psychoanalyst Sigmund Freud.  He waggishly pointed out that it seemed to have helped and left Mahler transformed for the better.

We in the audience had but two hours to be transformed for the better.  Reading the program notes describing the circumstances in Victorian Vienna up to the 1930's gave an excellent background for appreciation of the music.  A society pretending to be respectable and controlled was seething with rebellion underneath, just as a person with a conservative exterior may be hiding some pretty wild secrets.

New ground was being broken in all fields and so it was with music.  We no longer hear the strophic melodies and reassuring harmonies of Schubert, Schumann and Brahms. Instead we are hearing experiments in rhythm, strange harmonies, and a searching quality in the melodies.

Bringing this challenging music to vivid life were two superb artists--one well known to us for several years since Juilliard days--baritone John Brancy-- and the other a dazzling soprano new to NYFOS--Janai Brugger.  It's thrilling to witness the meteoric rise of someone we have long appreciated and it's thrilling to hear someone as a recitalist whom we have previously heard only on the opera stage (as Liu in Puccini's Turandot at the Metropolitan Opera).

The evening opened and closed with Mahler.  The first set of songs comprised Herr Mahler's "Erinnerung" and his wife Alma Mahler's "Laue Sommernacht".  The first made use of Mr. Brancy's baritone and Ms. Brugger's soprano in alternating stanzas exploring the relationship between song and love.  The final couplet was sung as a duet and we found the entire song quite lovely.  

But Frau Mahler's "Laue Sommernacht" was even lovelier with it's intense yet intimate feel.  She was taught by Alexander Zemlinsky and Herr Mahler was disapproving of her composing--perhaps because of societal restrictions or perhaps out of envy.  Who knows?

After many wonderful songs by Hugo Wolf, Erich Korngold, Arnold Schoenberg, Alexander Zemlinsky and Richard Strauss, we were treated to an encore of a 20th c. Tom Lehrer song "Alma" which satirizes Frau Mahler's succession of famous husbands. We will spare you the lengthy list of lovers.  What a gal!

The songs were nearly all new to us with the exception of two cabaret type songs which we had heard at the Austrian Cultural Forum.  Hugo Wolf's "Erstes Liebeslied eines Mädchens" was sung by Ms. Brugger who communicated all the naughty suggestiveness of the lyrics.  She did the same for Schoenberg's "Der genügsamer Liebhaber", a song one would expect to have been sung by a man.

But Mr. Blier is fond of gender-free casting and put Zemlinsky's "Das bucklichte Männlein" into the mouth of Mr. Brancy who picked up the humor ball and ran with it all the way to the goal post.  (Forgive us our sports metaphor.)  Mr. Brancy is usually a contained stage presence, using vocal colors to convey the drama so this was novel and fun seeing him let loose.  Here, although the lyrics are funny, the piano line conveys substantial anxiety.

Ms. Brugger's finest moments were in "Frühlingsfeier" when she cried out for Adonis and in "Drei Ophelia-Lieder" both by Strauss.  Her dramatic instincts are as fine as her beautiful instrument.

We also enjoyed Mr. Brancy's amusing delivery of Korngold's unpublished early song "Die Geniale".  Short but sweet.

The two fine singers joined voices for the final work on the program "Arie aus dem Spiegel von Arcadien".  Apparently we were in a particular mood for humor last night. We had trouble imagining the super-serious Schoenberg setting the light-hearted words of the long-dead Emanuel Schikaneder.  But he did and we enjoyed it.

We measure the success of this type of recital by how many hours of reading they inspire.  We have been reading about the denizens of turn-of-the-20th c. Vienna for hours.  What a fascinating junction of time and place--zeit und stelle.

ⓒ meche kroop

ARIA vs. LIED

Ken Noda, Amanda Majeski, and Ryan McKinny

In an all-too-brief George London Foundation for Singers recital at the Morgan Library yesterday we had the opportunity to hear a program in which both singers, soprano Amanda Majeski and bass-baritone Ryan McKinny, were able to exhibit their talents in both opera and in lieder.  Significantly, each chose an aria from an opera in which they recently starred.

Ms. Majeski has had quite a success singing the role of Vitellia in Mozart's La Clemenza di Tito--both at Semperoper Dresden and at Teatro Real in Madrid.  Luckily for us, she performed the character's final aria "Ecco il punto, o Vitellia...No piu di fiori" in which the manipulative woman finally examines her conscience and decides to confess her guilt to avoid the death of her loyal friend Sesto.  Ms. Majeski threw herself into this role heart and soul.

We heard Ms. Majeski when she won a George London award a few years ago; we heard her again in Santa Fe in 2011 when she sang Ottone in Vivaldi's Griselda, in which she was the highlight of a deplorable production. Yesterday she sang with all the involvement that we missed when she stepped into the role of Countess Almaviva in Mozart's Nozze di Figaro.  In this case we found her dramatically moving, tracing Vitellia's evolution from one mood to the next.  Her embellishments were as lovely as they were in the Vivaldi.  We heard a lot of power in the lower register and a big blooming top.

Equally impressive was her encore--"Song to the Moon" from Dvořak's Russalka.  She also sang three songs by Richard Strauss, including our favorite "Die Nacht".  Although suffering from some kind of vocal distress, it was barely noticeable as she employed word coloring and dynamic variety to augment the fine resonance of her sizable instrument.

It was during the Strauss that we most appreciated the artistry of collaborative pianist Ken Noda.  Always supportive and never overwhelming, he seems to sing along with the singer through his fingers.

Also a George London Foundation winner, bass-baritone Ryan McKinny is a most versatile artist, known in many genres but not heard often enough in New York.  He wisely chose to sing "Die Frist ist um" from Richard Wagner's Der fliegende Holländer, a role he succeeded in at the Glimmerglass Festival.  We Wagnerphiles in the audience were blown away.  His voice has power and nuance in equal measure; he painted the aural picture of a desperate man at the end of his rope.

He also excelled in the opening piece on the program "Bravo, signor padrone!...Se vuol ballare" which he sang with vocal subtlety and dramatic energy, creating the Figaro character we all know and love.

That is why we were puzzled by his duet with Ms M. "Das war sehr gut, Mandryka".  This scene is the culmination of a stressed-out courtship and we desperately wanted Mandryka to just look at Arabella; if he wasn't feeling it, we weren't feeling it.

Their encore duet from the close of Act I of Rodgers and Hammerstein's Carousel was nicely sung but Mr. McKinny as Bill again did not relate to Ms. Majeski's Julie.  He sang ardently but he sang it to the audience, not to his stage partner.  How odd!

His solo performance of three selections from Schubert's Schwanengesang was powerful; the tender but passionate "Ständchen" was followed by the lugubrious "Der Atlas" and the anguished "Der Doppelgänger". We cannot recall ever hearing an American singer with such perfect German diction.  He should be teaching a master class!  Every umlaut was observed, every final consonant enunciated, every diphthong clear.

Speaking of master classes, we are overjoyed that Mr. Noda supplements his many other duties and accomplishments by giving masterclasses at Juilliard and coaching young singers in the Lindemann Young Artist Development Program.

We are already witnessing the results; anyone under his tutelage bears evidence of his genius.  He gives the piano part the same colors as the singer gives the words.  We are mystified about how this is achieved but the mystery is part of the magnificence.

ⓒ meche kroop

WHO'S PULLING THE STRINGS?

The Doll and the Soldier--photo courtesy of Salzburg Marionettes

We have been great fans of the Salzburg Marionette Theater ever since we saw them in Salzburg.  At that time we enjoyed their versions of our favorite Mozart operas. When they visit New York, we call it a special occasion.  The last time they came to The Metropolitan Museum of Art, we reviewed their amazing Ring Cycle; they used recorded music of course, but gave delightful representation to the characters of Wagner's magnum opus.

This visit at The Metropolitan Museum of Art, was something entirely new but operatic in its own way.  The program was entitled La Boîte à Joujoux and if you expected it to be strictly for children you would have been mistaken. We cannot speak about the afternoon performances but at the evening performance the mainly adult audience was entranced while the few children present laughed out loud at the episodes of violence and dismemberment (!).

The program began with a curious curtain raiser in which a girl in a green mini-dress accompanied by her friend is courted by two very different men--one shy, awkward and affectionate, the other a dashing show-off with some dazzling moves.  What was most interesting about this episode was that despite the blank featureless faces of the marionettes, the highly articulated bodies told us everything we needed to know.

In a meta-dramatic move, one of the puppeteers came around in front of the white panels which composed the set, removed the legs of the two men and exchanged them.  Now, the awkward young man had the moves while the cocky guy stumbled around.  This did not solve the girl's dilemma. We couldn't help thinking about the ending of Mozart's Cosi fan tutte in which the women are torn between two men.

Although it was surreal, our thoughts ran to the philosophical--in many respects we are not responsible for the gifts we are given in life and feel powerless when these gifts are lost. Of course, our special situation as sentient human beings provides us with tools to deal with our fates; marionettes can only be victims.

Obviously, that is something the kids did not get.  What they did get was the cartoon-like humor of the legs skittering away across the stage and the head-banging of the disappointed would-be lover as well as the head-butting rivalry of the two boys.

Meanwhile, gorgeously costumed characters from several Mozart operas waltzed in and out of the scene, often imitating the physical actions of the four modern youths. This was artistically and visually pleasing if not immediately comprehensible.  Equally strange was the large red boot that waltzed across the stage.

The music by Robert Schumann was nothing short of glorious, as performed by Orion Weiss on the piano.  We heard "Papillons, Op.2", "Blumenstück in D flat, Op. 19", and "Novelette No. 8 in F sharp minor, Op. 21"--each a jewel with melodies galore. Perhaps modern music lacks melody because Mozart, Schumann and Schubert used them all up!

Following an intermission, one of the puppeteers came out with a giant key and wound up the sleeping Mr. Weiss for the titular work which Claude Debussy called a "children's book ballet". The entire evening was marked by the puppeteers, all dressed in black but with no pretense of invisibility, interacting with the puppets as well as with Mr. Weiss.

There was an adorable doll with golden curls and a yellow dress whose perfectly articulated feet allowed her to dance on point; her arabesque could not be faulted. She was courted by the stalwart wooden soldier and the lewd and long-armed Pulcinella who required all the puppeteers to animate him.  Another love triangle! (See yesterday's review).

There was a wonderful battle in which the squad of wooden soldiers pelt Pulcinella with a pea shooter and canned peas.  Pulcinella retaliated with a cannon ball and the doll's soldier falls in battle.  Not to worry, because in a touching scene she brings him back to life and a standing position.  It was difficult not to be moved.  One is surprised at how rapidly the marionettes and puppets become "real" to us in the same way that animated characters in films do.

Finally, the doll and the soldier buy a farm with lots of sheep and ducks.  Twenty years later they are successful, fat and prosperous.

Mr. Weiss' performance of the Debussy work was filled with wonder; he is a quietly sensitive pianist who brought out all the subtleties of the score with technical perfection.

The Salzburg Marionette Theater has been performing for over a century.  For many years travelling puppet theaters were the only theatrical performances permitted by the Catholic church.  Now, of course, with theater and opera available and cherished all over Austria, they exist because they have created a unique and enchanting method of storytelling.  We hope they will be around for another century to delight and entertain many generations to come.

© meche kroop

THE PAST INTRUDES ON THE PRESENT

Benjamin Robinson and Molly Mustonen (photo by Robert J. Saferstein)

The Little Opera Company That Could--Chelsea Opera--having won a grant from the National Endowment for the Arts, is on a roll.  Last night they presented two one-act works by the prolific Henry Mollicone, with libretti by John S. Bowman.  Each opera was commissioned by an opera company with the stipulation that the work relate to the home town of the company.  The theme of each would appear to be a blending of the past and present.

The brief curtain-raiser, The Face on the Barroom Floor, was commissioned by Central City Opera in 1978 and has been performed annually in Colorado ever since. It involves a love triangle from Gold Rush days, one that comes to a violent end. The story is told within the framework of the present day; the love triangle and its violent end are recapitulated.  

The beautiful Molly Mustonen used her lustrous soprano to good advantage as she portrayed a present day chorister as well as the historic saloon singer.  Lyric tenor Benjamin Robinson sang sweetly as the chorister's beau in the present and also as the starving artist of long ago who pays his bar tab by painting the saloon singer's portrait on the floor.  Baritone John E. Callison, whom we have been hearing and enjoying more and more lately, made a fine bartender.

With meager financial resources, set designer Anna Yates managed to create a very believable saloon with faux stained-glass windows, a simple bar and a few tables and chairs (amusingly occupied by company co-founders Leonarda Priore and Lynne Hayden-Findlay playing denizens of the bar).

Mr. Mollicone was present for the occasion; his piano was accompanied by flutist Kevin Willois and cellist Emily Brausa from the Chelsea Opera Chamber Ensemble. The music is jazzy and there are touches of American folk melodies woven in.

The second and more substantial work on the program, the 1981 Emperor Norton, was commissioned by the San Francisco Opera and deals with a legendary character in that city's past.  He was at least eccentric and probably quite mad as he declared himself Emperor.  He died as a derelict on the street.

The interesting treatment of the story is told in a somewhat mystical way.  Two actors are mysteriously summoned to audition for a role in a play about Norton.  The playwright, magnificently performed by one Vira Slywotzky (a singer we just love to hear, calling herself a soprano but with a voice that suggests strong mezzo coloring), uses their help to finish the play.

The two actors--the excellent soprano Rosa Betancourt and the fine tenor David Gordon--are soon joined by an imposing figure from another time.  We shall know him by his costume!  He is, of course, the spirit of Norton (big-voiced baritone Justin Ryan) and he has come to offer correctives to his reputation and the way he is being represented in the play.  The ending has a lovely twist and is marked by a marvelous quartet.

For this opera, conductor Noby Ishida took over. Mr. Mollicone at the piano was joined by violinist Stanichka Dimitrova and cellist Emily Brausa. Thankfully, the music is tonal and lyrical.

We particularly enjoyed Ms. Betancourt's impersonation of the dancer Lola Montez, which had the audience laughing out loud, and her impersonation of a Chinese woman who sang a stunning melismatic aria.

Stage direction by Ms. Findlay was always effective.  Costumes in both operas were also designed by Ms. Findlay with some contributions from the Theater Development Fund Costume Collection.  We particularly admired Ms. Mustonen's saloon singer gown and the period-appropriate 1940's costumes for Emperor Norton.

The only thing missing was titles.  Somehow they are not deemed necessary when an opera is sung in English but, as we frequently point out, English is more difficult to sing and more difficult to understand than Italian or German, especially in the upper registers.  We missed quite a bit of Norton's story because of this.  We heard enough and the acting was sufficiently effective that we understood the story but we would have enjoyed it more if we'd heard all the details.

(c) meche kroop