GIULIO GARI AWARDS

Le Bu, Minki Hong, Joseph Sacchi, Gabrielle Beteag, Esther Tonea, Brittany Olivia Logan,

 Fanyong Du, and Jonathan Kelly

For the past 22 years, the memory of legendary tenor Giulio Gari has been kept alive by his widow Gloria by means of a foundation established in his memory by the late Stephen DeMaio ad the great soprano Licia Albanese.  The goal of the foundation is to discover, support, and encourage young opera singers. 

After welcoming remarks from Mrs. Gari herself and Donald S. Levine (a member of the Board of Directors and co-producer of the concert), the thrilling two-hour concert was interrupted only by stirring comments by Artist Manager and Board Member Ken Benson.

Mr. Benson is well known and much appreciated for his devotion to young singers and that makes him a most valuable member of Planet Opera. We always like to hear what he has to say because we agree with his perspective!

We also enjoyed hearing from soprano and gifted teacher Catherine Malfitano who shared interesting tidbits about her career. We recalled with pleasure the many times we sat in on her classes at Manhattan School of Music, witnessing her drawing incredible performances from her undergraduate students, many of whom have gone on to fame. It is hard to believe that this is the fiftieth anniversary of her debut at The New York City Opera, which launched a world wide career!

What we would most like to dwell on, however, is the array of talent set before us. The original program was amended due to the usual occupational hazards of opera singers--illness and prior singing commitments. However, we were not at all disappointed since we got to enjoy the superlative artistry of several of this year's award winners, as well as that of prior years' award winners.

As is our wont, we are not going to tell you, Dear Reader, which singers won awards this year or prior years, or how they ranked, or how much money they received. This is surely available on the Foundation's website. Our concern is what we experienced with our own ears and eyes. We were happy to see a couple of familiar faces onstage as well as some new ones. Each and every one had something grand to offer.

It also became clear to us the importance of repertorial choice. Frequently we heard a performance that was technically perfect but, due to vocal color or some other factor, did not quite add up to the total immersion we feel when a singer's performance is so on point that the costume and scenery appear in our mind's eye and we are set down in the middle of an opera. That's magic!

For example, soprano Brittany Olivia Logan made a most believable diva in "Io son l'umile ancella" in which the anything-but-humble star of Cilea's Adriana Lecouvreur lets out all the stops. However, in spite of her flawless singing, she was less believable as the truly humble seamstress Mimi in Puccini's La Bohême. We could see her as an excellent Musetta! However, tenor Fanyong Du was totally believable as the ardent writer Rodolfo as they performed the duet "O soave fanciulla".

Similarly, soprano Esther Tonea created a strong Norma in the eponymous Bellini opera, easily conquering the master's lengthy legato lines and harmonizing beautifully with the Aldagisa of mezzo-soprano Gabrielle Beteag in the "Mira, O Norma". Her performance of Grigoriu's "Muzica" (previously unknown to us) won our heart as Jonathan Kelly's dissonant intervals of seconds took us on a Roumanian journey. However, the much loved "Letter Scene" from Tchaikovsky's Evgeny Onegin, while technically brilliant, somehow did not convince us that this was a young woman experiencing the anxiety of first love. We found our attention focusing on Jonathan Kelly's piano performance in which he beautifully limned the composer's feelings about Tatiana's youthful passion.

Although Ms. Beteag satisfied in the role of Aldagisa she best revealed the size of her voice in "Re dell'abiso affretatti", Ulrica's aria from Verdi's Ballo in Maschera. The corduroy texture  of her instrument lent menace, especially in the pianissimi and we really loved her lower register. There was something about those rolled "r"s that made our blood run cold. Ms. Beteag's performance of "Einsam wachend in der Nacht" showed a lot of potential for Wagnerian roles but it is the Ulrika that we will remember her for.

And while we are discussing Wagner, just see how Joseph Sacchi negotiated "Siegmund heiss ich und Siegmund bin ich" from Act I of Wagner's Die Walküre! We have a burgeoning heldentenor here, hampered only by his miming the removal of the sword Nothung from the tree in Hunding's hut, demonstrating to Sieglinde that he was indeed her long lost twin brother. We have no idea how one could do a better job physically but maybe just abandoning the effort?

It was a fine performance vocally, and far more interesting than the monologue from Britten's Peter Grimes.

Baritone Minki Hong succeeded in creating the character of Gérard in the ironic and heart-breaking aria "Nemico della patria" from Giordano's Andrea Chénier. We admired the lovely Italianate legato phrasing. We also enjoyed a Korean song by Kim which offered Mr. Hong the opportunity to show a sweeter coloration and dynamic variety. The song was called "A Thousand Winds" and had to do with a deceased person's spirit metamorphosed into nature.

We have already mentioned the success of Mr. Du as Rodolfo and we also enjoyed his aria from Gounod's Les Pêcheurs des Perles--"Je cross entendre encore". He exhibited a full tone, a fine vibrato, and exquisite dynamic control. We do love a gradually spun out decrescendo!

There was more Gounod to close the program with Ms.Logan, Mr. Du, and the sensational bass-baritone Le Bu creating the trio finale from Faust--"Ange pure, Ange radieux".

The thrill of witnessing young artists from their conservatory days to their fame on world stages is something that we cherish. Bravissimi tutti!

© meche kroop

 

JOYCE DI DONATO MASTER CLASS

Ben Reisinger, Michelle Mariposa, Robert Ellsworth Feng, Bridget Esler, Joel Harder, and Justina Lee

 Participants in Joyce Di Donato's Master Classes at Carnegie Hall Weill Music Institute

(photo by Chris Lee)

Master classes are valuable to young singers because they get a fresh perspective  from a master teacher, and Joyce Di Donato is surely one of the most masterful master teachers around. The Master classes held at Carnegie Hall are also valuable to opera lovers who get an opportunity to witness the hard work and total commitment necessary for a singer to succeed in an overcrowded and highly competitive field.

Ms. Di Donato's master classes are a joy to behold. We marvel at her warmth and ability to establish rapport with various personalities. We are impressed by her ability to suss out exactly the type of help each young singer needs to ascend to the next level. We admire the generosity with which she shares her years of stage experience, as well as her own professional growth. Any opera lover who has attended one of her riveting performances will recognize an artist of dedication who uses her prodigious gifts to create  believable characters without calling attention to technique.

Participants in the three-day event included singers Ben Reisinger, Michelle Mariposa, Robert Ellsworth Feng, and Bridget Esler; they were effectively accompanied by pianists Joel Harder and Justina Lee. It was most interesting to observe their artistic growth over such a brief period of time. Right from the start, it was made clear that the workshop was about process, not performance. The audience, comprising opera lovers and young singers, was uniformly attentive and grateful. There were no distractions. AT the end of each session, audience members asked meaningful questions that were answered with honesty and generosity.

We would like to share a few vignettes that captured our attention. We had never heard the term "rage aria" but that is how Ms. Di Donato labeled Frank's aria from Kurt Weill's Street Scene--"Let things be as they always was". This aria was presented by bass Robert Ellsworth Feng  who was taught how to use vocal color and dynamics to get across Frank's character, beyond the unidimensional.  "Make those consonants SEETHE!" We marveled at how Frank became a real complex person and not just an Archie Bunker.

Mezzo-soprano Michelle Mariposa's portrayal of Arsace from Rossini's Semiramide became informed by the notion that the audience must hear three voices--that of Rossini, that of the character, and that of the singer. The singer must search for authenticity and avoid caricature. Rubato can be used to give the impression of spontaneity as if the character were making it up as he goes along.  It is worthwhile to surprise the audience with syncopation.

Soprano Bridget Esler's offering was that of Pamina's "Ah, ich fuhl's" from Mozart's Die Zauberflote. More connection between phrases was needed and that improvement made a world of difference, as did some more original gestures.

Hearing Ben Reisinger as a tenor was quite a surprise for us. We heard him less than a year ago at the Opera Index Awards Recital as a baritone singing "O vin, dissippe la tristesse"  from Thomas' Hamlet. We looked back at our review in which we noted that his upper register opened up beautifully. No wonder he made the decision to change fachs!

He is still feeling his way through and we can foresee a brilliant future as a tenor. He worked on Pinkerton's aria "Addio, fiorito asil" from Puccini's Madama Butterfly. Much improvement was noted when he followed instructions to use the consonants, especially the "v" in "vil". Even more attention is needed on the double consonants. 

Ms. Di Donato advised Mr. Reisinger to go deeper into the character and to build the aria from a pianissimo beginning. Pinkerton is faced with an internal struggle related to his ignorance of the values of a foreign culture. Rhythmically, "four square" must be avoided and more dynamic variation is called for. 

Another day we got to observe his work on "Ah! lève toi soleil" from Gounod's Romeo et Juliette. Subtleties such as a diminuendo on "l'amour" lent authenticity to the character. Imbuing the phrases with direction involves enhancing the legato nature. The aria must unfold and never succumb to choppiness.

We got a further look at Ms. Esler in her "Prendi" from Donizetti's L'elisir d'amore.  The singer must use her imagination making each aria a duet. She must make choices that distill the essence of the character. One must find motivation for each cadenza. That is a point that we truly understand. Coloratura for "show" is just not enough. 

The workshop continued along these lines with insight piling on top of other insights. These fortunate singers must have been carefully chosen for their willingness and ability to absorb new and valuable information!

We can remember when Carnegie Hall was strictly a world famous performance venue. Its recent role in musical education within the Weill Music Institute has magnified its influence in the musical sphere. Not only do singers grow and evolve but so do our cherished institutions!

© meche kroop

WHO IS MARCELLA SEMBRICH AND WHY WE SHOULD CARE

 Michael J. Butler, Lucy J. Altus, Ruby Dibble, Gemma Nha, Rose Naggar-Tremblay, and Magdalena Kuzma at the Marcella Sembrich Awards Ceremony

What a fine Sunday evening we spent at The Kosciusko Foundation! We learned something new and impressive, we heard six superlative young singers, and we dined on Polish delicacies. Before we get to the pierogis, let us share with you an interesting story related to us before the concert by Ewa Zadworna, who seems to keep the Kosciuszko Foundation running. 

Marcella Sembrich, a Polish soprano and star at The Metropolitan Opera House at the turn of the 20th c. was not only a great singer with a 30 year career, but also a founder of voice programs at Juilliard and at Curtis Institute, and a great philanthropist, helping to establish the Kosciuszko Foundation in 1926. She worked tirelessly to promote the music of her homeland, which had been partitioned and virtually ceased to exist-- except in the hearts and souls of its people.

The Russian occupiers forbade the use of the Polish language and, of course, the programming of Polish songs. Having been warned several times against singing Polish songs at her recitals, Sembrich risked her life by singing a Polish song at the invitation of the court of Nicholas II. Not only was she not punished but he enjoyed it. We love when music trumps politics!

And here we are today, always yearning to hear Polish songs at recital programs and, having enjoyed works by Moniuszko and Szymanowski (Halka by the former and King Roger by the latter), wanting to hear more.

At the awards recital, we got our wish granted. Magdalena Kuzma performed Halka's tragic aria  “Ha! Dzieciatko nam umiera “ from the Moniuszko opera of the same name. We also heard two lovely Chopin songs.  Gemma Nha sang the lovely "My Darling" and Michael Butler did equal justice to his "Melodia".

There were several other outstanding moments in the recital. We were floored by the powerful contralto of Rose Naggar-Tremblay singing Fricka's “Weiche, Wotan, weiche” from Wagner's Das Rheingold. We rarely hear such power and intensity from someone so young and if Wotan was not persuaded, we certainly were!

Both Lucy Altus and Ruby Dibble sang the "Composer's Aria" from Strauss' Ariadne auf Naxos and we were impressed by how each talented mezzo-soprano was able to extract  different riches from the same mine. We have never been to a competition in which the judges requested the same aria from two different singers. In a way we wished they had performed it back-to-back.

Ms. Nha was hilarious in the playful "Non monsieur ma Marie" from Poulenc's Les Mamelles de Tiresias. Mr. Butler was soulful in "Salut! Demeure chaste et pure" from Gounod's Faust.

Not only were the young singers of exemplary quality but the chosen accompanists, Katelan Tran Terrell and Michal Biel, are both well known to us. They were outstanding in terms of sensitivity to the singers and flexibility of approach to arias from different musical periods. 

The recital went from one high to the next, convincing us that these emerging artists will all go on to success in the opera world. We enjoyed every moment until the very end when the awards were given. We hate to criticize an organization that provides so well for young artists but a misstep like this needs to be remedied.

 If you have six finalists onstage and five of them are given award certificates and bouquets of roses, how do you think the sixth singer feels? Our heart was breaking for her. Obviously competitors have to have nerves of steel and we personally know several semi-finalists whose talents were equal to the five major winners. But they were not onstage putting smiles on their faces. Singers cannot afford to be sore losers but they should never be humiliated in that fashion. This is the same objection we have to the Laffont Competition at The Metropolitan Opera when half of the finalists get awards and the other half do not. This situation exceeded that one in poor taste and should have been avoided.

That bit aside, it was a splendid show of vocal excellence and we are glad not to have been doing the judging. We were happy to be introduced to an important figure in opera and to learn of her outstanding legacy.

© meche kroop

SLAYLEM WITCH TRIALS

 Judge and Witches at Heartbeat Opera's "Slaylem"

 Those Heartbeat Opera mischief-makers were at it again with this year's version of their annual drag show, this year held at the venerable and oh-so-appropriate Judson Memorial Church, home to wild theatrical events since our earliest days in Manhattan.  Here's a little secret "dish" for you, Dear Reader. Someone very famous in the opera world got his start there portraying The Operatic Prince in Al Carmine's radical interpretation of the fairy tale Snow White. What a glorious thing to return to our very first exposure to NYC's radical theatrical scene!

We have never missed any of Heartbeat Opera's annual drag shows, always marveling at the creativity, originality, and gender bending. One can always count on stunning performances and fabulous costuming and makeup. This year was no exception and an enormous crowd of revelers had the time of their lives enjoying the exposure of hypocrisy from America's past history. 

In the 17th c. the colonies were not immune to the witch hunting craze consuming Europe. Arthur Miller chose to dramatize this embarrassing piece of history with a serious drama The Crucible, referencing McCarthyism, whilst Heartbeat Opera's devilish crew chose to treat the subject with satiric ridicule, which mass hysteria richly deserves. We hope at least some members of the audience were able to draw parallels with some of the issues being dealt with even today four centuries later.

It appears to us that Heartbeat is moving in a more popular direction than it has in prior years, engaging more of the audience by adaptation, changing of lyrics, and inclusion of more contemporary references for which we needed some assistance from our companion who is more familiar with pop culture and pop music than we are.

Some pieces were instantly recognizable such as the "Lacrimosa" from Mozart's Requiem, and "I am the Wife of Mao Tse Tung" from John Adams' Nixon in China. Our opera singer companion was able to identify some bel canto numbers that we missed. And who could have failed to identify Copland's "Simple Gifts" although we did not know it came from a ballet Appalachian Spring, written for the Martha Graham Company.

But this was not the point. The point was to entertain, to amuse, to play mind games by means of double entendre and gender bending, to poke fun at the pompous, and, above all, to make everything outrageously sexual as seen through the LGBTQ lens.  The work brought the audience to their collective feet.

The performers got into their characters with glee, intensity, and over-the-top humor. The always notable John Taylor Ward made good use of his long lanky frame to portray The Judge and Jamilyn Manning White went from Abigail to a sexy red-clad devil. The similarly long and lanky Hans Tashjian portrayed Misery; Bernard Holcomb took the role of Clemency; Angela Yam performed the role of Rebecca; Mercy was portrayed by Rodolfo Girón; Chastity was brought to life by Curtis Bannister. Needless to say, the voices are operatic and nothing was out of their vocal reach. It was a real mind fuck to hear familiar melodies with new English lyrics and to be unable to identify the music!

These unexpected lyrics were supplied by Director Nico Krell, violinist Jacob Ashworth, and Co-writer Garrett Bell. Mr. Krell did a fine job of keeping the story moving with raunchy vignettes. All three are credited as "Creators".

Under the direction of Dan Schlosberg, the orchestra comprised Mr. Schlosberg himself at the piano, Mr. Ashworth playing violin, with Mira Williams playing viola and Julia Henderson playing cello. Just as fantastically costumed (see our entries on Facebook and Instagram) as the stage performers, they did a fine job moving seamlessly from classical music to numbers of the popular genre.

The fantastic costumes were designed by David Quinn and we were most impressed by Ms. White's red devil costume. A sexier devil we have never seen! The costumes of the Pilgrims were grim on the outside but often hid racier elements. Maiko Ando's makeup added to the effects.

This queer extravaganza ended with a touching group sing of "Make Our Garden Grow" from Bernstein's Candide. As Generation Z would say "They ate and left no crumbs.

© meche kroop

YOUNG CHINESE MUSICIANS SHOW THEIR STUFF

 

2024 Inaugural Chinese Young Artists Showcase

In what we hope will become an annual event, the Key Foundation presented an exciting evening of music performed by young Chinese artists. For two and a half hours without intermission we were enraptured by a wealth of musical talent--without a single moment of boredom.  Sixteen singers and instrumentalists graced the stage of Zankel Hall in rapid succession, each one contributing to our awareness of the wealth of talent in the Chinese community.

We have no idea how Artistic Director Mo Li assembled such a group of young artists of prodigious talent, but there they were! Some are enrolled in our local conservatories, some were from other American conservatories, and some seemed to have come from Chinese musical institutions.

Let us focus for the moment on the singers, as we usually do. We were completely delighted by the bel canto artistry of soprano Xiaoya Jiang whose highly focused instrument was just perfect for "O! Quante volte" from Bellini's I Capuleti e I Montecchi. The recititavo involved very exposed a cappella sections alternating with the piano and then, during the aria we heard Bellini's long luxurious vocal lines spun out with beautiful phrasing and clean coloratura embellishments.

Shakespeare's tale of star-crossed lovers was given its due when tenor Hongrui Ren performed "Ah! Leve-toi, Soleil!" from Gounod's Roméo et Juliette. The excellent performance was marked by the sweetness of his vocal coloration and we couldn't help but notice the embouchure contributing to the warm romantic vowels.

Soprano Siyu Zhao used her expressive instrument in a contemporary piece by Tinghang Hu entitled "Mayila Variations", augmenting her vocal agility with generous gestural elements which added greatly to the effect. It was the only vocal piece on the program that was unknown to us but we enjoyed it nonetheless.

Mezzo-soprano Qirong Liang enchanted us with her performance of "O ma lyre immortelle" from Gounod's Sapho. The French was fine and we heard a great deal of depth in the chocolatey richness of her instrument. We were impressed by her French diction that permitted us to understand the lyrics and also by the emotional intensity which was sustained throughout.

Baritone Lewei Wang was obliged to abandon a difficult Mozart aria due to illness, but, not wanting to disappoint the audience, graciously offered a less demanding piece, Schubert's "An den Mond". We have heard him in the past when he performed the Notary in Puccini's Gianni Schicchi and we will count on hearing him again.

Tenor Jin Yu offered Don Jose's desperate plea to the fickle Carmen in "La fleur que tu m'avais jetée" from Bizet's opera of the same name. We liked his voice the best in the pianissimi passages which surely would have moved a woman less obstinate than Carmen.

Tenor Zhongjiancheng Deng closed the program with the passionate "Dein ist mein ganzes Herz" from the 1929 Lehar operetta Das Land des Lächelns. This aria was made famous by Richard Tauber singing the role of Prince Sou-Chong. But, Dear Reader, we are most familiar with it since watching a student production at Manhattan School of Music, brilliantly directed by Dona Vaughn, a performance that left us smiling. As legend has it, Chinese are wont to smile in spite of disappointment. We do not know if that is true or not  Our smile was not one of disappointment!

Having "closed the program", let us now back up and give some well-earned credit to a few of the instrumentalists who added so much value to the evening. We loved the joyful performance of pianist Jingyi Zou who clearly loved the variations on Johann Strauss' "Blue Danube Waltz" written by Adolf Schulz-Evler, a piece we had never heard before.

Also unknown to us was Alejandro Viñao's "Burritt Variations" performed by Ye Tian on an instrument we believe to be a marimba. Not only did we love the sound but also Mr. Tian's "dancing hands".

We also enjoyed the dramatic suspense in the opening of Chopin's "Scherzo#2 in B-flat Minor", marked by the composer's typical abrupt changes of mood. Pianist Fengming  Zhang got it just right. 

For lovers of guitar music, there was Mathias Duplessy's "Oulan Bator" played by Qiancheng Gong who limned the various colors between soulful and spirited; he paid attention to the complex rhythms and added a technique we had never before witnessed. Dear Reader, please pardon us if words fail us here but we confess ignorance of guitar technique.  Suffice it to say that the sound came across as some kind of wizardry.

We have run out of space and beg forgiveness of the artists we neglected. It was a most special evening and it certainly thrilled us to see Chinese artists getting the attention they deserve. We can scarcely wait for next year. 

We might add that our companion, new to classical music, was similarly taken with the evening. It was wise of the organizers to include such variety.

© meche kroop

SILVER SONGS

 Grant Wenaus, Daniel McGrew,  Abi Levis, and Mischa Bouvier

(Photo by Richard Termine)

Mirror Visions Ensemble’s performance on Monday, September 30 at Merkin Hall of Kaufman Music Center, “Silver Songs,” was a dazzling fusion of Hollywood glamor and classical artistry. This ambitious program went beyond celebrating the allure of the silver screen; it dissected our relationship with it, taking us on a journey through the cultural landscape shaped by movies.

The ensemble’s juxtaposition of contemporary perspectives with mid-20th century reflections created a fascinating dialogue across time. At the heart of this conversation was the world premiere of Griffin Candey’s Silver Songs cycle. By setting poems by living writers alongside Frank O’Hara’s work, Candey’s piece became a prism, refracting our evolving attitudes towards cinema. From the immutability of film to our parasocial relationships with stars, the show explored how flickering images on screen have seeped into every aspect of our lives.

Each performer brought their unique strength to the ensemble. Abi Levis’s mezzo-soprano demonstrated impressive range and versatility, effortlessly transitioning between rich, dark tones and clear, bell-like notes. Her fitted bodice and draped skirt, reminiscent of Hollywood’s golden-age chic, added visual authenticity to her performances. In “Humphrey Bogart,” Levis captured the intensity of a fan’s obsession. Who among us hasn’t felt that mix of intimacy and distance with our favorite actors, as if we know them personally through their roles?

Daniel McGrew’s lyric tenor soared throughout the evening, particularly shining in more playful passages. His exquisite diction and sustained notes were especially noteworthy in “The B Movie,” where his delivery of Jeanne Murray Walker’s poetry painted a vivid picture of cinematic loneliness and rejection. The comment on the desolate lover’s “[p]oor knuckles, which are a no-man’s land,” invited us to reconsider such tropes that we so unconsciously absorb.

Mischa Bouvier’s warm baritone was perfectly suited for the Chansons de Don Quichotte, capturing the endearing delusion of the character with tenderness and humor. These songs by Jacques Ibert demonstrated how cinematic adaptations can breathe new life into classics, while Erich Wolfgang Korngold’s songs, derived from his film scores, brought us back to an era where the emotional language and rich melodies of opera reigned over all cliché.

The ensemble not only entertained, but also provoked thought. The solemn, choral-like harmony of “The Film” elevated the everyday ritual of going to the movies into something sacred. It reminded me of my own cinematic pilgrimages, those times I’ve lined up for midnight premieres or rewatched beloved films with devotional fervor. In the last line of “Poem,” McGrew delivered “oh Lana Turner” with passion commonly found in an aria professing a tenor’s love for his lady, transitioned into a gentle falsetto for the reverential “we love you,” and finally settled into an anticlimactically curt command — “get up” — for the actor, a jarring depiction of the sense of ownership we feel over the personal lives of those we see on screen.

The program’s clever use of “mirror visions” — different musical settings of the same text — was particularly effective. The contrasting interpretations of Howard Moss’s poem “Horror Movie” by William Flanagan and Chris DeBlasio served as a masterclass in how musical context can dramatically alter our perception of words. Flanagan’s version, with its playful interaction between singers, captured the thrill of watching horror films with friends, each scream and laugh a shared experience. DeBlasio’s more ominous interpretation felt like a dim, fine mist of darkness, delving deeper into the psychological appeal of the genre, reminding us of those late nights alone, heart racing, unable to look away from the screen.

Exemplary accompanist for the evening was Grant Wenaus whose fine playing kept up with the superlative singing.

Guest review by Chloe Yang

(NOT SO) SILENT NIGHT

Brittany Renée and Daniel Okulitch

We approached Paula Prestini's production of Silent Light as we generally do, avoiding the reading of Director's Notes. We like to see if a work of art speaks for itself, without explanation.  As we recall from 15 years ago, The Carlos Reygadas film with the same title, although not our favorite, spoke for itself. By means of the absence of music, relying strictly on sound effects, visual metaphor, and spare speech by the principles, Reygadas drew a portrait of an unusual subculture, that of Mennonites living in Mexico, near Chihuahua.

Whilst watching the film, never once did we wish for a musical soundtrack. The visuals had a melody and rhythm of their own. We fail to understand why the esteemed composer thought it a good idea to compose music to decorate this work which never asked for it. We will not comment on the quality of the music, only point out that we found some pleasure in the rare quieter passages and some pain in the more raucous ones. 

During the love-making scene the music was particularly discordant; we couldn't help thinking of the music Richard Strauss composed for the opening scene of Der Rosenkavalier which was luscious and sensual, and referenced the climax with a series of "whoops" that let us know we were in for a light-hearted comedic ride.

Speaking of the sex scene (and we generally have no negative reactions to them) we found this one particularly gratuitous, in that it told us nothing about the relationship between the two lovers. (What we recall from the film is that the man left his children sitting outside in his truck whilst having it on with his paramour. And that told us something!)  By comparison, the stoic appearance of the characters in other scenes told us a lot about this laconic community.

For those of you who do not know the story, it is about a supposedly pious married man who is devoted to his wife and many children--but not sufficiently devoted to avoid an entanglement with a single woman member of the same community. He confides in his friend and in his father and to all appearances, seems tortured by this conflict. He claims to be "in love" with this woman but what we witness is lust, not love. It is an old story with an interesting twist. He has told his wife about the affair and watches her suffer. The two women know each other.

Onto this framework, Ms. Prestini has composed music that did nothing to add to our understanding. Esteemed and awarded as she may be, this is just not our kind of music. The vocal lines offered nothing to hold one's ear. Royce Vavrek's libretto was often impossible to hear over the brass-heavy music.

It is difficult to evaluate a vocal performance under such circumstances although a most illustrious cast was assembled. Under the direction of Thaddeus Strassberger, the performances were admirable. Daniel Okulitch was persuasive as the tortured husband Johan and Brittany Renee was completely convincing as the miserable wife Esther.  Julia Mintzer portrayed Marianne, Johan's paramour, and we are sure she was directed to be non-seductive; there was no way to understand the attraction the husband had for her. This must be intentionally left mysterious and undisclosed.

Our favorite performance was that of Anthony Dean Griffey as Johan's friend Zacarias because, of all the singers, he handled the English diction the best. When there are no subtitles, we must rely completely on the singer. Margaret Lattimore did an excellent job as Esther's mother, and her expressive face told us how she felt about her son-in-law.

As Johan's father we heard James Demler and Margaret Carpenter Haigh took the role of his mother. The pair appeared to be dairy farmers and the cows were portrayed by female members of the chorus (The Choir of Trinity Wall Street) wearing cow masks on their heads. We were not alone in feeling uncomfortable watching them being "milked". We wondered if the director wanted to say something about the role of women in this community.

Perhaps it was just part of the intention to make the experience an immersive one. As the work opened and the projected stars faded in the sky, Johann pours himself a cup of coffee. Then Esther comes in and prepares breakfast for the group. Yes, she actually cooks in real time and we were reminded of our very first theatrical experience in which a solo artist baked "Sweet Nut Bread to Make Your Mouth Water" while delivering her monologue, and then served it to the audience. No, Esther did not share the pancakes with us but then we expect to remember the former work long after Silent Light will be forgotten.

Mr. Strassberger's set design was apt, the furniture appearing no more than spare and functional. A complete kitchen occupied  one side of the stage and a workshop on the other side which was also utilized as a farm. A raised platform served as the cab of a truck. Bruce Steinberg's lighting was most effective as were the projections by Greg Emetaz.  Whilst Johann and Esther are driving in the rain, the illusion of being in a truck or auto was created with the projection of the shadow of a windshield wiper. Other special effects lent a sense of reality. When Esther runs out into the rain with an umbrella, water fell from above in torrents--in the same spot that was previously used to create the illusion of a pond where the children frolicked.

The performing area was wide, as were the two rows of seating. Therefore, one's point of view varied with one's location. The fortunate few sitting in the center of two long rows got an excellent view, but the rest of us, sitting to the sides, had our view blocked by the members of the chorus who were sitting directly in front. Such are the discomforts of an awkward playing space, as is the problem of the placement of the musicians. In this case, the conductor Maestro Christopher Rountree was only a couple feet away and the musicians--heavy on the brass with trumpet and trombone, as well as a cello and violin and a percussionist, playing behind what appeared to be a plastic screen.

The Foley effects (by Nathan Repasz) like chirping crickets and a loudly ticking clock were intense. Amanda Gladu was responsible for the costuming--overalls for the men and shapeless drab dresses for the women.

We always try to bring someone new to the opera, hoping to make converts. Alas, the visual artist who accompanied us may never be willing to set foot in an opera house. What a gap there is between traditional opera and what is currently being called opera!

© meche kroop