We are here to encourage the development of gifted young singers and to stimulate the growth of New York City's invaluable chamber opera companies. But we will not neglect the Metropolitan Opera either. Get ready for bouquets and brickbats.

Sunday, July 14, 2019


Elisabeth Harris as Prince Orlofsky and Chorus in Act II of Die Fledermaus

We never tire of Johann Strauss II's comic operetta Die Fledermaus. The witty libretto by Karl Haffner and Richarde Genée pokes a finger in the eye of late 19th c. Vienna with all its hypocrisy, class consciousness, and upper-class frivolity. The composer's music is equally witty and the score is well knit from overture to finale with glorious melodies tumbling out one after another--danceable waltzes and duple meter ones as well. Conductor Valéry Ryvkin and his excellent orchestra didn't miss a beat or a bubble in this champagne score.

Last night's production by Prelude to Performance was somewhat simplified as compared with the lavish one of 2016 with evening dress substituted for period costumes and projections standing in for elaborate sets. Nonetheless, the evening glittered by virtue of some outstanding performances.

If you don't know the story, dear reader, please enter Die Fledermaus in the search bar; we have told the story too many times to repeat it--once for Prelude to Performance and once for Amore Opera (both outstanding iterations.)

We have written every summer about Prelude to Performance which is celebrating 15 years of training young artists in many areas of performance, most notably that of character interpretation. We have never seen/heard anyone in one of their performances that failed to fully inhabit their character and bring it to vivid life. That is thanks to input from Artistic Director Martina Arroyo, the legendary soprano who has devoted her post-performance years to developing the talents of the up and coming young singers in her program.

Take, for example, soprano Lisa Faieta who gave us a complex and believable Rosalinde. Whether fighting off the attentions of Alfred (the aptly named Congju Song whose prodigious talent is new to us), soothing her about-to-be-jailed husband, rejecting the pleas of her maid Adele, or affecting the identity of an Hungarian Countess. As a matter of fact, it is in the latter guise that we were best able to appreciate her skills. Voice and gesture joined in this convincing portrayal and we were dazzled by a stunning messa di voce in "Klänge der Heimat". Two years have passed since we heard Ms. Faieta  with IVAI; her voice has developed wondrously.

Soprano Yejin Lee took the role of Adele and impressed us with her sprightly portrayal and dazzling coloratura. We had only seen her briefly before as one of the nymphs (Echo, we believe) in Ariadne auf Naxos; it was great to see more of her. As Rosalinde's maid she went over the top in her wheedling efforts to get the night off. In Act II, wearing Rosalinde's gown, she pretended to be the actress "Olga" and audaciously confronted Eisenstein when he recognized her. She absolutely scored in her "Adele's laughing aria". In Act III as she tried to convince Frank of her acting potential, we thought she could have been more convincing. That's the right place for some over-acting.

Mezzo-soprano Elizabeth Harris made an excellent Prince Orlofsky, emphasizing his bizarre personality and his ennui. Her arias were marvelously delivered. We always love "Chac'un a son goût" and the "Champagne song" in which the excellent chorus joins in. We could scarcely believe Ms. Harris' versatility, having reviewed her in several roles at Manhattan School of Music. What a contrast between Orlofsky and the cold-hearted Aunt Hannah in Tobias Picker's Emmeline!

As Eisenstein, baritone Jimin Park was lovable even when cheating on his wife (or so he thought). On his way to a brief jail sentence, he was lured to attend Prince Orlofsky's party. His dissembling with his wife Rosalinde and again at the party where he pretended to be Marquis Renard, established his character. His embarrassment when he sees Adele there was hilarious, as was his pidgin French with Frank the jailor who was posing as Chevalier Chagrin (neither man knew a word of French beyond "merci"), not to mention his flirtation with his own wife. All this comedy was accompanied by some fine singing that exhibited a tenorial quality in the upper register. We want to hear more of this young artist.

In the role of the jailer Frank, we heard baritone Yichen Xue, whom we heard two years ago singing "Scintille diamant" at Manhattan School of Music. We noted his excellent performance then and were glad to hear how his instrument has expanded. The scene in Act I in which he arrives to take Eisenstein to jail and finds Albert instead was a very funny one, as Rosalinde must pretend that Albert is her husband to preserve her reputation. He was quite funny again in Act II, pretending to be French.

The mastermind of this elaborate plot is Falke, so well sung by baritone Michael Parham, possessor of a fine instrument and elegant stage bearing--so elegant that we can just imagine the humiliation Falke must have experienced from Eisenstein's prior prank (the backstory) and his delight in the revenge.

Tenor Esteban Jose Zuniga, had a fine time and a funny one in the role of Dr. Blind, confirming everyone's worst expectations of the legal profession. 

Stage Director Alan Fischer did a fine job of keeping the action moving along at a galloping clip. We could not find credit for the direction of the chorus but they were excellent. Vera Junkers as language coach made sure that everyone's German was crisp and clear.

One measure of the success of this production is that the opera "newbie" we brought had a fine time. Wasn't this operetta the perfect introduction?

We should also mention that during Act II, the action was suspended for performances by some famous singers who appeared as guests introduced by WQXR's Robert Sherman. We particularly enjoyed the performance of soprano Nicole Haslett in Nanetta's aria, a role she performed with Prelude to Performance in 2012 and reprised last night! She got our attention then and we reviewed her 4 years ago as a George London competition winner. But what really stood out for us was her performance as Chloe in Offenbach's Daphnis and Chloe. 

That was the night we fell in love with Heartbeat Opera. Both Ms. Haslett and Heartbeat Opera are thriving, and to bring things full circle, she will be performing with them again next season in Der Freischutz. Nothing could keep us away!

Also on hand were soprano Mariana Zvetkova who sang "Io son l'umile ancella" from Cilea's Adriana Lecouvreur, soprano Harolyn Blackwell who sang "O mio babbino caro" from Puccini's Gianni Schicchi, and tenor Noah Stewart who performed "Donna non vidi mai" from Puccini's Manon Lescaut.

We could not imagine a more entertaining evening!

(c) meche kroop

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