NAUMBURG AND WAGNER HONORING EACH OTHER

 Erin Wagner

(photo by Jiyang Chen)

In a world in which artistic organizations come and go, in which artistic missions are altered to suit changing tastes, and in which new institutions are mere flashes in the proverbial pan, it is reassuring to know that Naumburg Orchestral Concerts has been providing free outdoor concerts for New York City concert goers for a record 121 years! This is the oldest free concert series in the world! 

That inclement weather drove Monday night's concert indoors took nothing away from the experience. St. Mary's church in the Theater District is not only capacious but visually artistic. The space was filled to capacity and a large clutch of disappointed would be audience members were sadly left outdoors.

And what a concert they missed! This was not  the first time that the venerable Orchestra of St.Luke's was invited to perform at the Naumburg Concerts and it was a most fortunate choice. Under the baton of Maestro Brad Lubman, a program of Mozart works was scheduled, offering works from his teenage years all the way through to his mature works.They were perfectly suited to the outdoor venue of the Naumberg Bandshell in Central Park but, by virtue of some superb performances, survived the steamy atmosphere inside the church whilst nasty thunderstorms raged outside. 

The Naumburg Concerts historically presented vocal music at a time when opera was all the rage. To our delight, that tradition was preserved at this performance by the welcome presence of Erin Wagner, a singer we much admire and whose career we have documented from her undergraduate days at Manhattan School of Music, through her winning of multiple competitions. 

 Five years ago, Ms. Wagner won the Walter Naumburg International Competition. Listed on the program as a mezzo-soprano, a fach by which we know her, we were puzzled as soon as we opened the program. Her selection of Mozart arias did not include the expected "Parto, Parto" but did include the moving "Porgi amor" from Nozze di Figaro!

We managed to find Ms. Wagner backstage during intermission and heard the news from her directly. There is a change of fach in progress and we are totally on board with it.  Without benefit of costume or set, Ms. Wagner conveyed the pensive and pleading tone of the abandoned Countess Almaviva from Nozze di Figaro with all the artistic subtlety the aria demands. Cherubino's aria "Voi che sapete" was delivered with totally different coloration, just as one might expect from a hormonal youth. Both characters are lovelorn but in different ways.

By contrast, "Tutte nel cor vi sento"  from Idomeneo is an expression of  Elettra's jealous rage, all of which came through loud and clear.  It was illuminating to hear the artist create three different characters in three different situations. Several  concert arias completed the set and the artist graciously acceded to the audience's demands for an encore.

The remainder of the program showed the range of Mozart's talent from his teenage forays Divertimento in D Major, K 136 and Symphony No. 21 in A major, K. 134 to his mature Eine Kleine Nachtmusik, K. 525 of l787 which was our favorite instrumental work on the program. We certainly got the point that Mozart was a master of the sonata-allegro form but the final piece showed off his melodic mastery and left us humming the tunes,a situation which regular readers know is one of the things we most appreciate about music.

We wondered how many  people in the audience were aware of the energetic fight to preserve the Naumburg Bandshell from demolition several decades ago. Fortunately Elkan Naumburg's plan to democratize musical performance has been preserved. The story is well worth your attention, not only the story of the building of the bandshell and its history but also the story of the initiator of the concert series and the involvement of his family.

 There are even connections  with Walter Damrosch and Marcella Sembrich whose vocal foundation has benefitted so many young singers. Even the story of the architecture of the Naumburg bandshell is fascinating. Indeed we are happy that it was preserved!

© meche kroop

IL TURCO IN ITALIA

 Hans Tashjian and Mattia Venni

Fun and frivolity ruled the evening as Maestro Will Crutchfield brought the all-too-brief Teatro Nuovo season to a stunning close with an effervescent production of an opera that we might otherwise never have seen. We heard the title and wrongly assumed that this opera would be Rossini's send up of his own L'Italiana in Algeri. Far from it. As a matter of fact, the unfortunate title may have contributed to the opera's lukewarm reception at La Scala and its fading from the canon.  Nonetheless, it was a stunning freshman work by a 22-year-old Rossini who had already enjoyed a number of successes!

As Mo. Crutchfield pointed out in his pre-performance lecture, Rossini's works are marked by symmetry of form and an architecture of proportion, as well as by a rather cold-eyed and cynical view of human nature. They are also marked by bubbly melodies with impressive embellishment of the vocal lines. It is a given that one leaves humming the melodies although maybe not with the fioriture!  If he cribs from his other operas and one is momentarily transported to a different Rossini opera, you will not hear us complain.

Crutchfields' notes in the program are always instructive but never vain attempts at justifying a director's arrogant "interpretation". The works are allowed to speak for themselves and need no justification. If you might have missed some parallels between librettist Felice Romani's manipulative poet Prosdocimo. (Hans Tashjian) and that of DaPonte's Don Alfonso in Mozart's Cosi fan tutte, Maestro prevented that from happening. This is what we want to read or to hear in a lecture.

However, none of this information could be considered necessary to the enjoyment of this piece of musical fluff and our pleasure was echoed by the generous applause and standing ovation it received.

The dramatic device which sets it apart is the use of a character representing the librettist who directs the action of the characters onstage and also addresses the audience directly, a kind of "meta" situation.  The story he is directing involves a very flirtatious wife named Donna Fiorilla (Kresley Figueroa) married to an older wealthy man named Don Geronia (Mattia Venni). She has a "side piece" named Don Narciso (Max Alexander Cook) and she uses her seductive wiles on a visiting Turkish prince named Selim (Vincent Graña) driving her husband into fits of despair and hilarious helplessness. Meanwhile... Selim is being pursued by a former slave named Zaida (Sabatina Mauro) who has joined a ban of gypsies (thereby providing a chorus).  Are you laughing yet?

Of course it is silly but there is room in the world of comedy for just this kind of silliness especially when the delicious music amplifies it. The singing was superb all around and there was not a weak link in the chain of performance. Ms. Figueroa was particularly engaging and sufficiently beautiful and sexy to be convincing in the role. Mr. Venni's physical comedy was over the top. Mr. Tashjian's portrait of a kindly, creative, and inventive storyteller pulled it all together. Let us not fail to mention David Freides whom we heard the preceding night at the pre-performance recital in which his vocal gifts shone like a beacon. His role in this opera might have been small (Albazar, a Turkish friend of Selim and Zaida) but he acquitted himself nobly in his 2nd act aria.

As was the case the prior evening, the projected slides of Adam J. Thompson served admirably, representing the Naples waterfront and Don Geronio's lavish home.  We never missed the costuming because the (uncredited) direction was so astute. The story just swept us along on a wave of melody.

We were further impressed by Elisa Citterio who served as Capo d'Orchestra and also Primo Violino, excelling as both. Maestro al Cembalo was Derrick Goff and, as usual, Mo. Crutchfield was Maetro del Coro.

Let us not fail to mention the Pre-opera Serenade devoted to music by the legendary Garcia family. Our favorite piece was a trio by Manuel Garcia--"Senti, che ognun ti chiama" performed a cappella by soprano Brittany Rose Weinstock, tenor Justin E. Bell, and baritone Jason Augustus Rober.

AFter two satisfying evenings spent with Teatro Nuovo, we can say without reservation that they are the jewel in Manhattan's opera crown. Would that they would produce many more operas during the year! They might rescue our "small town" from its opera doldrums.

© meche kroop

BRINGING BACK THE "IL"

 Kevin Spooner and Ricardo José Rivera

(photo by Steven Pisano)

Personally, we enjoy some education along with our entertainment and that is the reason we hold Teatro Nuovo in such high esteem. Maestro Will Crutchfield is valued for the extensive research he does into bel canto opera in much the same way as Opera Lafayette reveals the treasures of the 18th century. Last night the Rose Theater (Jazz at Lincoln Center, which is actually in the Deutsche Bank Center, née Time Warner Center) was the venue for an exploration of Mozart's timeless Don Giovanni, which first saw light of day as Il Don Giovanni in 1787 in Prague.

Restoring the "Il" was a device meant to establish that we were seeing this superb work through fresh eyes, the eyes of the Garcia family, a family which brought opera to New York City in 1826 at the behest of Mozart's librettist Lorenzo DaPonte who created a new edition. The opera was enthusiastically received by both the 19th century audience at the Park Theater and last night's audience at the Rose Theater.

There was an enormous amount of scholarship involved in researching performance traditions, editing, scoring, and blowing the dust off this masterpiece that contemporary audiences have taken for granted. One was obliged to listen with an open mind and thirsty ears, of which ours were thrilled to hear ornamentation galore and charismatic cadenze.

Mo. Crutchfield's pre-performance lecture stressed the investigative approach, making th4e point that opera was a combination of score plus performance. His talk was so full of ideas that we yearned for a written copy so that we could consider his ideas at leisure, but his talk was extemporaneous as only an expert can produce and woe to those who cannot keep up with a mind like his. We did our best, Dear Reader, we did our best.

It was during the performance that we were best able to appreciate the efforts. Here was the famous story of the reprobate Don (Ricardo José Rivera) and his coming to a well deserved end. Here was the story of the somewhat faithful servant Leporello (Kevin Spooner) who put up with his master's abuse for money. Here was the story of the devoted Donna Elvira (Sedona Libero) who couldn't stop trying to reform him. Here was the story of Donna Anna (Elizabeth Novella) who finds out eventually that the man who tried to rape her also killed her father. Here was the story of the easily swayed peasant Zerlina (Simona Genga) who learns almost too late how evil the Don is and how she would do well to make it up to her bridegroom Masetto (Noah B. Rogers).

We also have a Don Ottavio (Martin Luther Clark) who wants to wed Donna Anna and wavers between supporting her and getting angry at her putting him off. And then there's the victim of the Don's mayhem, the Commendatore (Daniel Mobbs) who gets his revenge.

So, the characters are all there and, we believe, all the arias we love except Don Ottavio's oft-omitted "Dalla sua pace". We relished every single embellishment of each character's vocal line and we believe that the rest of the audience did as well, judging by the thunderous applause.  If other elements were discarded we did not miss them. What we did miss was the finale, the ensemble in which all the surviving characters sing about their future plans. Indeed, if Mozart intended this as an opera buffa, or dramma giocosa, it felt abrupt to end with the Don writhing on the floor.

A few words about the production values--we had the impression that the artists directed themselves. Don Giovanni and Leporello had a nice rapport and Donna Anna was totally convincing in her sorrow, her resolve, and her attempts to placate Don Ottavio who mostly did not connect with her. Although the staging of the first scene and the duel was a bit clumsy, subsequent scenes worked far better. 

In lieu of sets we had projections by Adam J. Thompson which served well. The only "stage furniture" appeared during the final scene for Don Giovanni's dinner --it was not missed. However, we do take exception to the costuming, or rather the lack of costuming. This was not a concert version with music stands and so we would have liked at least a suggestion of class differential; having the peasants attired in streetwear would have been a cost-free way of emphasizing their status. Having the entire cast in formal wear was jarring.

But less us get on to the most important issue, that of musical values. Maestro al Cembalo Geoffrey Loff performed his role with enthusiasm and artistry, keeping the performance moving along at a brisk pace whilst giving the singers room to breathe and enjoy their respective fiorature. As is customary with Teatro Nuova, the musicians are arranged so that they can see each other. Having heard from a few conductors we know that the best place to sit was as close to the conductor as possible, we took the advice and were glad we did. At no time did the orchestra drown out a singer.  Well done, Maestro!

We might mention the pre-performance recital of works by the scion of the aforementioned Garcia family. And what a family they were, including daughters Pauline Viardot and Maria Malibran. The program was narrated by Resident Artist Timothy Cheung. and we wished he had spoken to the audience instead of reading. His accompaniment however was excellent. Catching our attention by beauty of voice and interpretation was tenor David Freides' performance of Garcia's cancion "Cuerpo bueno, alma divina" .

Tonight, Teatro Nuovo will offer Rossini'a rarely seen Il Turco in Italia. We are eager to see and hear what Mo. Crutchfield has to tell us and what the company will show us. We hope to see you there, Dear Reader.

© meche kroop