LE TOUR DE FRANCE

Daniel McGrew, Theo Hoffman, Steve Blier, Bénédicte Jourdois, Nicoletta Berry, and Erin Wagner

We approach an evening with Steven Blier with high expectations and an open mind. We know we will hear a satisfying mixture of the familiar and the strange, the old and the new, the accessible and the puzzling, the serious and the frivolous. We know we will hear excellent young voices and charming narration by Mr. Blier himself. We know that the audience will exceed in numbers that of most vocal events and that individually there will be rapt attention.  This is why we strive to hear every well-curated performance by New York Festival of Song.

Accompaniment was provided by Mr. Blier alternating with Bénédicte Jourdois who also shared the narration. One bit we found particularly interesting was the story of singer-songwriter Barbara who performed her song "Göttingen"  in the eponymous German city. She had been a Jewish refugee hiding in France during WWII and sang to mark the passing of two decades during which time Germany and France had recovered from their previous enmity. The song was performed by the much celebrated mezzo-soprano Erin Wagner and tenor Daniel McGrew in perfect harmony which reflected the harmony between two nations. Both singers are much admired regulars at NYFOS concerts.

The format of the concert was a tour of France introduced by the most appropriate  "Nous avons fait un beau voyage" from Reynaldo Hahn's cheery operetta Ciboulette. By a strange and lovely coincidence, joining baritone Theo Hoffman was the adorable soprano Nicolette Berry whom we first heard six years ago at Manhattan School of Music, singing the title role of the opera in a scenes class taught by Catherine Malfitano!

Onto the sturdy shoulders of Ms. Wagner fell the task of representing the West of France with some Poulenc settings of text by Max Jacob. Ms. Wagner's artistry made dramatic sense of poetry we found rather obscure. The finely wrought vibrato and centeredness of Mr. McGrew made his performance of  the mournful "C" particularly affecting. We were to hear more of Poulenc later on in the program. 

We were delighted to move to the North of France because we got to hear a charming duet by Michel Legrand entitled "Chanson des jumelles" in which Ms. Berry and Ms. Wagner portrayed twin sisters, doubling each other's gestures. The lyrics were sung in French and in English and seemed altogether delightful except for one brief phrase that probably lost something in translation and sounded a bit disturbing. We will have to consult an expert on that issue!

Poulenc's complex pianistic ripples, played by Ms. Jourdois, made a fine support for Mr. Hoffman's immersion in the desolation of "Fagnes de Wallonie", also by Poulenc. Apollinaire's text came across most vividly.

The Eastern part of France (bordering Germany, of course) included the aforementioned "Göttingen" and a tragic song from Mahler's Des Knaben Wunderhorn entitled "Zu Strassburg auf Der Schanz". The story was convincingly told by Mr. Hoffman; a soldier taken prisoner hears the sound of an Alphorn, feels homesick, and tries to escape, only to be captured and turned over to a firing squad. (Now part of France, this area employs a strange dialect comprising some French and some German, which we could just about understand when we visited some years ago.) Mahler's score is written in 4/4 march time and one could hear drum rolls which were well executed by Ms. Jourdois. 

It was time to move on to the South of France! Here was yet another strange dialect. Joseph Canteloube arranged some traditional folk poems and called the work Chants d'Auvergne. Ms. Berry performed two of them and we wanted to hear more. Apparently we prefer real stories about real people to abstract poetry! In "Lo fiolaire" a young girl who spins wool bribes a young shepherd to tend the sheep in exchange for a kiss or two. In "Brezairola" a woman tries to lull a baby to sleep. The dialect contained some strange sounds and we were thoroughly charmed by the performance.

Our tour wound up in Paris and our favorite songs were those with humor. It was good to know that Poulenc could write something cheerful (pre-war apparently) and Ms. Wagner brought lightness to Apollinaire's text about visiting the City of Light-- "Voyage à Paris". 

Mr. McGrew let loose with a humorous performance of Serge Gainsbourg's "Le poinçonneur des Lilas", the lament of a very bored ticket taker at the railroad. Ending with a similar theme of the tedium of the workingman, Joseph Kosma's setting of a Jacques Prévert poem tells the tale of a taxi driver who dreams of all his many stops--"La cauchemar du chauffeur de taxi". Our multi-talented cast of four had a great time with this concluding number, ending the program on a high note. We are still smiling!

© meche kroop

LONDON FINALS

 Finalists at the George and Nora London Foundation Competition

(photo by Joan Greenberg)

For as long as we can remember we have considered this competition a highlight of the musical season. Not only are the finalists some of the very best young singers in the country, but we in the audience get to share the excitement with them after their respective performances whilst the judges perform the nigh impossible task of deliberating. Unlike some other competitions which we will not mention, the group is not divided cruelly in half. Of course five of them will get cash awards that are significantly higher than the other seven but no one is left feeling like a loser.

As usual, we would like to address the smooth running of the competition, held at The Morgan Library. There was no excessive fanfare nor lengthy speeches. The overall quality of the performances indicates marvelous futures for these young artists. Please do not count on us to tell you how much each singer won or who was "the best". That information is probably available on the Foundation's website, if you care about such things. The judges are all luminaries in the opera world and must have had a most difficult time.

 Gracing the piano bench was a dear friend of ours, the renowned Lachlan Glen who managed to switch gears from one singer to the next and to give each one the necessary support. That aspect alone lent a very special quality to the fast moving display of artistry.

Readers will recall that we lack affection for contemporary opera and for the English language. We all have our preferences and it is most rewarding when we hear a performance of something we did not expect to like and find ourself relating to it and wanting to learn more about the opera. Since all of the voices were beyond excellent, we would like to focus on audience engagement and dramatic presentation.

Take, for example, the riveting performance of "A Dream Wasted" from an opera completely unknown to us--Highway One, USA by W.G. Still, performed by bass-baritone Joseph Parrish. Mr. Parrish has been on our radar for quite some time; no surprise that he was selected by Young Concert Artists after making quite a splash as a Santa Fe Opera Apprentice. His performance was so intense and seemed spontaneous; we got a real sense of the character and intend to learn something about the opera. We might add that alone among the singers who sang in English, Mr. Parrish made every word comprehensible.

Another dramatically riveting performance was that of another bass-baritone Evan Lazdowski, well remembered from his time at Juilliard, who performed Bottom's aria from Britten's A Midsummer Night's Dream. This was a highly physical performance that showed off his dramatic skills. There was Bottom crawling around the stage and hiding under the piano. Even if you didn't know the Shakespearean plot, you would have marveled at the convincing nature of the characterization and the humor. 

And whilst we are talking about convincing male performances, bass-baritone Sam Dhobhany made a fine Figaro in "Non più andrai" from Mozart's  Le nozze di Figaro. Similarly, baritone Korin Thomas-Smith enacted a perfectly arrogant and perfectly clueless Count Almaviva in "Hai già vinta la causa". We could have cast Mozart's masterpiece right then and there.

Bass Alan Williams utilized his splendid instrument to limn the nastiness of Claggart in Britten's Billy Budd. Tenor Alec Carlson did equal justice to Peter Grimes' mad scene from the eponymous Britten opera. Both men awakened us to Britten's skill at writing music specific to unlovable characters.

Let us move on to the women on the program. We were particularly excited to learn that soprano Shelen Hughes would perform an aria from the very same role that we heard her sing at Manhattan School of Music some years ago. Rimsky-Korsakov's Snegurechka (The Snow Maiden) is so rarely performed and it is truly a gem of a fairy tale, allowing the singer an opportunity to reveal a variety of emotions. We loved it back then and we loved it even more last night as Ms. Hughes has grown in her artistry. We might add that her Russian sounded fine to our ear, although it is not one of our languages.

Soprano, Magdalena Kuźma, is another singer we have admired and she also sang in a language that is not one of ours. We have always enjoyed the music of Moniuszko and his opera Halka is one we yearn to see, especially after hearing Ms. Kuźma's portrayal of the romantically betrayed village girl.

Happily French is a language we do understand and especially enjoyed mezzo-soprano Ruby Dibble's portrayal of Carmen, the heroine of Bizet's beloved opera. Carmen is anything but a stock character and we love to hear a singer who can make the role her own. Ms. Dibble's Carmen was a clever one, and a woman of mercurial emotions, confident of her power over men.

Mozart seemed to be a favored choice among the women as well as the men. Soprano Dalia Medovnikov as Pamina in Die Zauberflöte presented just the type of heroine we want to see, full of innocence but fearful of the loss of her love. 

Soprano Emily Damasco brought some fine singing to her portrayal of Fiordiligi in Mozart's Cosi fan tutte. In "Come scoglio", Fiordiligi emphatically declares her steadfast faithfulness but the audience can see that she will soon lose her resolve.

Closing the program was a puzzling selection from Jonathan Dove's children's opera The Enchanted Pig. Soprano Rachel Kobernick threw herself into the role of Adelaide but, truth to tell, we had to look up the opera to get an idea what it was about. Apparently Adelaide is a witch's daughter who wants to marry a King who is destined for someone else. Had Ms. Kobernick's English diction been clearer we might have gotten some inkling of the story but we did not. She sang with a lot of "personality" but our ignorance of the situation and inability to understand the text added up to disappointment.

On the whole, we were sufficiently impressed by the dozen finalists (selected from 175 applicants), that we considered the afternoon a complete success. We don't believe in heaven, but if we did, we would think of George and Nora London looking down with pride and pleasure.

© meche kroop

SALOME

Summer Hassan, Jeremy Harr, and Nathaniel Sullivan

(photo by Andrew Boyle)

It's been a decade since we saw a production of Richard Strauss' Salome in Santa Fe. Director Daniel Slater set it in the period in which it was written, giving it a strong Freudian interpretation. The petite soprano Alex Penda was convincing as a willful teenage girl suffering the consequences of a traumatic childhood. It was an unforgettable evening. Our only other exposure to the opera was a couple years earlier at the Metropolitan Opera and all we can remember was a rather confusing production and a surprisingly effective (and shocking) Dance of the Seven Veils by the superb soprano Karita Mattila. who stunned us by the power, range, and lyricism of her voice.

Last night we attended an English language presentation of the opera by Heartbeat Opera, reputed for its original takes on the classics. It was well worth the trip to Brooklyn and the lengthy climb upstairs, both for its original musical take and for its riveting dramatic impact. Before sharing the details of this worthy production, we would like to muse a bit on the psychohistorical aspect of the story as it transmogrified through the centuries in response to cultural norms.

As reported by Plutarch, the elder Seneca, a Roman historian and Senator, was the first to make reference to such a depraved beheading preceded by a dance. In the Bible, the Gospels of Matthew and Mark make reference to an unnamed girl, used as a tool of vengeance by her mother to end the life of John the Baptist. John's strength of character is contrasted with Herod’s spiritual and moral weakness. and the mystical ascetic John is portrayed as the precursor of the coming Jesus.

As the reputation of John the Baptist grew in the centuries after the death of Christ, so did the myth of Salome’s evil. The story was used to illustrate the need to resist sexual temptations and the potential spiritual risks created by the diversion of dancing. This anti-feminine emphasis was to endure for quite a long time.

In the late nineteenth century, and throughout the twentieth century, the myth has been refigured time and time again, pointing to a peculiar fascination with the way sex and power intersect in the drama. Oscar Wilde's play (which he never got to see due to being imprisoned for the crime of homosexuality) was important in making Salome a creature with desires of her own. She is elevated to more than merely her mother’s pawn, becoming the autonomous agent of John's death From the nameless dancer in the Bible story she has become the focus of the drama, whose actions symbolise the sexual power of modern woman.

Richard Strauss, composing under the influence of Freudian theory, was undoubtedly taken by the duality of Thanatos and Eros. It is Salome's erotic drive that leads to her death. And so, after this brief bit of rambling, we come to the production of the opera by Heartbeat Opera, renowned for revising and reinterpreting the classics. In this pared down version, Director Elizabeth Dinkova has focused on the central characters with extraneous characters and the arguing Jews confined to a video screen and deprived of voices.

Captain Narraboth (David Morgans) lusts after Salome (Summer Hassan). He dies, by his own hand (pistol subbing for the dagger). Salome lusts after Jokanaan (Nathaniel Sullivan). She dies at the hands of her uncle/step-father Herod (Patrick Cook).  Actually, in this version, everyone dies, including Herodias (Manna K. Jones) shot by a character known as the Page (Melina Jaharis). We are not sure whether the soldier (Jeremy Harr) survives. We might add that the cast was uniformly excellent, not only by virtue of strong voices but also by impactful acting. 

Although we much prefer the opera sung in German, we can see the merit of using an English translation (from English National Opera). In our opinion, it is not for the benefit of the audience, who definitely need titles to understand the words in the upper register, whether the opera is sung in English or German. Rather it benefits the singers who are able to connect more to the text. Admittedly, this production lacked nothing in terms of immediacy.

The cast was pared down to seven and Strauss' humungous orchestra was pared down to 8 clarinets (yes, you read that right) and two very hard-working percussionists. Did Maestro Dan Schlosberg's reduction/arrangement work? We thought it worked splendidly, employing clarinets of every register with an assist from a recorder, saxophone, and an electric guitar. All were utilized to heighten the action and effectively distinguished the varying colors of each character. We are quite sure that Music Director Jacob Ashworth had a major part in arranging the score.

Ms. Dinkova's direction excelled at storytelling and Emona Stoykova's set heightened the storytelling. Jokanaan was imprisoned in a glass cage center stage.  The band of clarinets were placed on one side of a square, with a bank of video monitors on the facing side. Audience members sat on the two remaining opposing sides; the singers did a good job of giving both sides equal opportunity, which is not always the case.

We were grateful for Nicholas Betson's titles. Mika Eubanks' costumes were mostly apt, although poor Ms. Hassan looked stuffed into an unusual get up with a fluffy skirt of pink tulle.

And now, Dear Reader, we know you are dying to hear about the shocking Dance of Seven Veils. Well, you must go and see for yourself. We guarantee you will be shocked! There will be another week of performances which you can see on the Heartbeat Opera website.

© meche kroop

Do we need to mention that AI was not utilized in our writing and never will be?

CHELSEA GIRL

 Chelsea Guo

A fulfilling concert last night at Merkin Hall left us in awe of the multitalented. Chelsea Guo and of the Young Concert Artists sponsorship. It's been but a year since we heard Ms. Guo when we singled out her performance in an event at which YCA partnered with New York Festival of Song. Both institutions have a knack for finding and promoting the very best young artists at the beginning of their careers. Last night was a real event and it prompted our thoughts on the issue of artistry and fame. We hear so many gifted young artists whose careers stagnate. What factors in to the rapidly advancing careers of some of them?

There may be a better term but the one that pops into our mind is a strange one.  It's "show biz". It is some undefinable quality that engages the public on a level deeper than musical artistry and talent.  Perhaps it is personality manifested by a look, a self confidence, body movement, eye contact-- something that draws the audience in and holds their interest. Ms. Guo, like her colleague Joseph Parrish (another YCA sponsored singer), captures the audience and wraps them in her arms and doesn't let go. No wonder she is winning prizes and performing all over the world, and at such an early stage of her career. If we are not mistaken, she just graduated from Juilliard!

This is an artist who knows exactly what she wants to give her audience.  No one at Merkin Hall could fail to be reached by her singing, her piano playing, and most impressively, her ability to do both simultaneously--not casually in the manner of a lounge singer but as an artist accomplished in both fields. We observed this most intensely when she performed Liszt's lavish transcription of Schumann's simple art song "Widmung" (which he renamed "Liebeslied") whilst singing the Rückert text which Schumann had set. We have observed singers before who played art songs and accompanied themselves, but they did not turn and face the audience, enveloping them in the depth of feeling. What a star turn!

The rest of the evening's two hour program was equally impressive with interesting choices including a pair of songs by Fauré in which she accompanied herself on the piano, giving herself complete control of the many factors that compose an art song performance. A "Nocturne in E Major" by Chopin captured the pensive melancholy of the composer that one senses even in his works written in the major mode. We liked the way she emphasized a three note motif that recurred throughout the piece.

Liszt may have elaborated on Schumann's simplicity whilst removing the vocal component, but Pauline Viardot elaborated on Chopin's Mazurkas by adding sung text and we were delighted to be introduced to three selections out of the dozen in the group. Somehow we believe that Ms. Guo chose the three best but we would love to hear the other nine. We were enchanted by the first two which focused on women's feelings about love.

Two "spirituals" were sung to accompaniment by the excellent collaborative pianist Francisco Barfoed whom we remember from his Juilliard days. Furthermore we were privileged to be introduced to a composer and his pianistic interpreter, both of whom we look forward to hearing more of. Composer A Bu contributed two songs to the evening's  program and it awakened our hope that 21st century piano music might just become lyrical with lovely melodic lines. "Lullaby" and "Signature" were given their World Premiere and we found our attention focused on the piano part-- so well performed by Eden Chen. The lyrics did not impress us and we hope that Mr. Bu will find text that will match his lovely melodies.

Kurt Will's "Lost in the Stars" gave Ms. Guo the opportunity to tell a dramatic tale and Sondheim's "Putting it Together" closed the program. We have no idea how it came that Barbra Streisand revised Sondheim's lyrics from the Broadway show Sunday in the Park with George; we'd never heard them before. It occurs to us that the alterations were not so different from what Liszt did to Schumann's work and what Viardot did to Chopin's. We dare to say that Ms. Guo, among some other unique qualities, has an attraction to transformation.

Finally, we would like to call attention to Ms. Guo's excellent posture at the piano. Singers who hunch over the keys give us cervical distress, much in the same way as tenors who tighten up when reaching for the top note give us an ache in our throat. A small point, but a curious one.

© meche kroop

A WORTHY DISCOVERY

Maestro Patrick Quigley conducting Opera Lafayette Orchestra's world premiere performance of 

Edmond Dédé's Morgiane, ou, Le Sultan d'Ispahan

Singers L to R: Joshua Conyers, Mary Elizabeth Williams, Chauncey Packer, Nicole Cabell, 

Kenneth Kellogg, and Jonathan Woody 

(photo by Jennifer Packard, Courtesy of Opera Lafayette)

After such a satisfying evening, we scarcely know where to begin. In an era when the field of opera is getting bogged down in prosy unmusical polemics, a few companies stand out by mining the past for undiscovered treasures. Teatro Nuovo brings to life forgotten gems from the Bel Canto period, whereas Opera Lafayette brings to the table a scholarly approach to rarely heard operas of the 17th, 18th and 19th c. The D.C. company's annual visits to New York City bring us education with our entertainment. Both companies achieve sold out status, proving that opera is not a dying art form.

There is room for contemporary opera just as there is for modern art. They just fail to provide nourishment to our classical eyes and ears. We would happily attend Nozze di Figaro, La Traviata, and La Bohême several times a year (and we have). Just the same, to be introduced to a work from the past that has lain forgotten gives us a thrill like no other.

A great deal of scholarship went into the recreation of Morgiane, ou, Le Sultan d'Ispahan and Opera Lafayette partnered with OperaCréole to bring this work to the stage, just in time for Black History Month. The composer Edmond Dédé was a Free Man of Color whose lifespan occupied the greater part of the 19th century. The opera is probably the first four-act opera by a United States born composer of African descent. Born in New Orleans, he established his reputation in France in the second half of the 19th century and his rich melodies reveal an exposure to various forms of music from café-concerts to high opera. We hope to hear some of his songs on recital programs!

The libretto he set was an exotic tale by Louis Brunet and probably was inspired by Europe's 19th century fascination with Asian exotica. The Islamization of Persia began in the 7th century and we can assume that the opera takes place after that time since the ruler in the opera is the tyrannical Sultan Kourouschah. Prior to the time of the opera, his mistreated wife had fled with their infant daughter in her arms and had been rescued by Hagi Hassan, a good man who raised the child with love and care. At the time of the opera, the girl, named Amine has just wed a worthy young man named Ali when Beher, a henchman of the Sultan, abducts her to be the consort of the Sultan. Yikes!!!!

We are sorry to have given away the secret surprise reveal of the 4th act. Actually, as is our wont, we did not read about the opera in advance, hoping that the work would speak for itself, which it surely did. Nonetheless, we were probably not the only member of the audience to have anticipated the surprise!

The work was exceptionally well cast. Although the production was given as a concert version with music stands, exotic atmosphere was provided by the gorgeous "Arabian Night" costuming, even for the chorus. Yes, we know that Iran (the country formerly known as Persia) is not Arabic but you, Dear Reader, know what we mean. This colorful costuming was designed by Amy Amos, Givonna Joseph, and Aria Mason. In spite of the music stands, the singers, especially the women, managed to inject their characters with dramatic intention, looking at the character they were addressing.

The role of Morgiane was played by Mary Elizabeth Williams whose spinto instrument filled out the emotion of the lines in a way that created a character of depth and determination. Her way with the vocal line was exemplary and the tonal quality admirable. Although she is the eponymous heroine, her best music and dramatic performance was saved for Act IV when she performed a stunning aria replete with arpeggios. She created a character that was forceful and spunky, proving that women can change their fates, and we are on board with that! 

Nicole Cabell is an entirely different type of soprano, a coloratura possessing an instrument of great agility. The ease with which she handled the fioritura whilst maintaining a warm coloration delighted our ears. Like Ms. Williams she always gazed upon whichever character she was addressing. She was completely believable as Morgiane's daughter Amine. Dédé gave her the most interesting music with a number of excellent arias and also duets.

As her new husband Ali, tenor Chauncey Packer sang sweetly with a lovely legato vocal line and a warm coloration, making his character most likable. One could really feel his anguish at losing his bride and his determination to recover her. In the duets, his voice blended beautifully with Ms. Cabell's, notably in Act I, in which the pair set the tone for the story by means of their mutual affection and deep devotion.

Joshua Conyers has a warm baritone that was just right for the role of Hagi Hassan. He conveyed all the warmth of a pater familias, protector of his family, a man who will go to any lengths to ensure their safety. And yet, one could imagine him as a shining knight on a white horse some two decades earlier, rescuing the poor Morgiane as she fled from her abusive husband--just the kind of hero who will raise another man's child as his own.

There was something very touching about a family banding together to try to save one of their own at a risk to their own lives. This is operatic in a way that contemporary stories cannot manage. We heard a stunning trio in which the parents and new husband vow vengeance for the abducted Amine. The composer's quartets showed his skill at weaving vocal lines into a multi-textured fabric.

The role of Beher, the Sultan's henchman, was well portrayed by bass-baritone Jonathan Woody who sat stony-faced but managed to sing with a snarl.

And finally, the role of the arrogant Sultan was sung by bass Kenneth Kellogg whom we didn't get to hear until Act III. Of all the singers, his French was the most comprehensible; of course, that is partly due to the low register, but also due to his crisp enunciation. He undergoes an Act IV transformation that was made believable by his skill at altering vocal coloration.

Just imagine!  An opera with a happy ending!  We left smiling because of the successful resolution, but also because of the marvelous music. Maestro Patrick Quigley was in full command of his resources and drew many colors from the orchestra. The music was varied with many contrasts of orchestration and rhythm.  In the opening chorus, members of the OperaCreole Ensemble, sang about nature in lilting waltz time. Later, we heard martial music in 4/4 time. 

Orchestral colors rivaled those of the rainbow. We even had the opportunity to hear the rarely heard ophicleide, an unusual brass instrument with a wide register, played by keys. We were so curious, we looked it up and learned that it was used mainly in the 19th century. and was featured in works by Mendelssohn and Berlioz. This was surely a night of discovery! We realize we have mentioned colors and coloration a great deal and perhaps this is one of the reasons we enjoyed the evening so much.

Let us finally mention that smaller roles were played by members of OperaCréole, including Valencia Pleasant, Taylor White, and Antonio Domino, Jr.

We believe a recording is forthcoming, in which case, Dear Reader, we urge you to have a listen. How impressive it is when two companies join forces to resuscitate a forgotten work. We in the audience only get to see and hear the end result. One can only imagine the happy accidents and diligent labor that went into creating such a memorable event.

© meche kroop