A CLOSE SHAVE, A NOT-SO-ILL WIND, AND SOME GLITTERY GAIETY

The highly gifted cast of MESS:IES event

Two back-to-back events at Brooklyn's Paper Box, featuring the same cast, revealed to us just how talented and versatile is every member of the Mise-en-Scène Ensemble. Having seen each singer in a variety of roles and different languages in such temporal proximity gave us a new appreciation, quite different from hearing them weeks or months apart. 

Furthermore, being exposed to brief scenes from operas we never enjoyed (like Berg's Wozzeck)--up close and personal--allowed us to experience more dramatic impact than we ever experienced from a distance.

Last night's opener involved tenor Andrew Stenson as the arrogant, callous, and narrow minded Herr Hauptmann getting a very close shave from military barber Wozzeck, portrayed intensely and convincingly by baritone Will Liverman. Berg's difficult atonal music only served to highlight the painful position Wozzeck occupied in his world.

Another riveting scene from Wozzeck involved soprano Jacquelyn Stucker as Marie, putting up with the taunts of mezzo-soprano Renée Rapier as her neighbor Margret.

The famous and famously wonderful Verona Quartet gave a luminous account of the Adagio from Janáček's String Quartet #2.  Although this is nothing like the composer's more accessible music for Vixen Sharp-ears, our ears picked up snippets of folk tunes that were most agreeable.

A particularly powerful scene from Massenet's Werther was enacted by Ms. Rapier as the conflicted Charlotte and tenor Ian Castro as the eponymous Werther. Charlotte gives in to her feelings for Werther and then, filled with shame, rejects him. Charlotte, in her flustered state is discovered by her husband Albert (baritone Theo Hoffman) who then orders pistols to be delivered to Werther. Never on the stage of a major opera house have we felt so involved with Charlotte's ambivalence, Werther's despair, or Albert's jealous rage. For us, these three major singers provided the highlight of the evening.

Accompanied by Mr. Nielsen, soprano Felicia Moore portrayed the grieving Elettra with great depth of feeling in the aria "O Smania" from Mozart's Idomeneo.

That was not the end of the Mozart. We loved the scene from Cosi fan tutte in which the lovers are separated under false pretenses, with Don Alfonso (Erik van Heyningen) laughing up his sleeve at the prank of his own devising. Ms. Stucker sang Fiordiligi, Ms. Rapier sang Dorabella, Mr. Castro sang Ferrando, and Mr. Hoffman sang Gugllielmo. It's a funny scene and Paul Curran's direction added a few additional humorous touches. Mozart's exquisite harmonies in "Soave sia il vento" were well handled and Mr. Reynold's piano added to the enjoyment.

We heard several excerpts from Bernstein's Candide, the seldom heard "Nothing More Than This", poignantly sung by Mr. Stenson, and the ironic "Glitter and Be Gay" delivered with brilliant fioritura by coloratura soprano Brandie Sutton, both accompanied in very different colors by pianist Chris Reynolds.

And the closing number "Make Our Garden Grow" was performed by the entire cast with several singers doubling up on roles; doubling up on the piano were Mr. Reynolds and the excellent Adam Nielsen. Those four hands made a lot of music. Maestro Glen's conducting was astute throughout.

It was a sell out crowd with many new faces, which bodes well for the future of the company. Word has certainly gotten out! We can scarcely wait for the next MESS event.

(c) meche kroop

GETTIN' MESSIE

Maestro Lachlan Glenn at Paper Box-- M.E.S.S. Event

The streets were messy as all get-out last night but "Messies" (members of Mise-en-Scène Studios) and their friends somehow got themselves to the depths of Brooklyn for the first of two events at Paper Box. Co-founders star tenor Ben Bliss and Maestro Lachlan Glenn welcomed the huge crowd and introduced a magnificently varied program of opera, dance, and instrumental music. The program had something for everyone and everyone seemed wildly enthusiastic.

It is a wise idea to introduce young people to opera, not as a lengthy ordeal to endure, but rather a small taste to relish, with the expectations that those exposed to world class singers in small increments will want to hear more. It seems to be a great approach and even a seasoned opera-goer such as ourself found the program both entertaining and stimulating.

The initial entry was the opening scene from Britten's The Rape of Lucretia in which tenor Andrew Stenson narrated and three Roman soldiers discussed the fidelity of the women left behind. Tenor Will Liverman as Prince Tarquinius and baritone Theo Hoffman as Junius are soured on wives and lovers who betrayed them. They are envious of Collatinus (bass Erik van Heyningen) whose wife is faithful. Fueled by alcohol and testosterone, the two soreheads plot to get Collatinus' wife to betray him as well. The singing was powerful on all accounts and the direction by Paul Curran made the scene all too believable.

Following an interlude of "Danse Russe" from Stravinsky's ballet Petroushka, played "one piano four hands" by four of the best hands we know (two belonging to Adam Nielsen and two belonging to Chris Reynolds), we witnessed a scene from Berlioz' Béatrice et Bénédicte that had as much estrogen as the prior scene had testosterone.

Felicia Moore wielded her clarion soprano instrument deftly in fine French as she expressed her love for Claudio. The role of Ursule, her lady-in-waiting, was sung by the marvelous mezzo-soprano Renée Rapier.

A less familiar aria from John Corigliano's The Ghosts of Versailles-- "Long Live the Worm"-- was sung with intense gesture and vocal expressiveness by Mr. Stenson, accompanied by Mr. Reynolds. This must be Mr. Stenson's "signature area" because we don't recall being quite that riveted by Bégearss' nasty aria on prior hearings.

The format of MESS events allows for a break between sets so that guests can enjoy socializing, drinking, and eating--in this case bespoke crepes. Food for the tummy as well as the ears!

The well known final quartet from Verdi's Rigoletto is a "can't fail" number as long as you have great singers in all four fachs. In this case, Gilda was sung by soprano Jacquelyn Stucker with the eponymous jester portrayed by Mr. Liverman. The pair cowered below stage, eavesdropping on the onstage pair--the lascivious Duke (Ian Castro) working his charms on the innkeeper's sister Maddalena (Ms. Rapier). It was absolutely thrilling.

We got an advance taste of the entertainment scheduled for next Spring, a program involving Indian dancer Preeti Vasudevan and singer Roopa Mahadevan, wearing traditional garments and bringing a lot of color to the evening.  See photos on our FB page Voce di Meche.

The final scene from Richard Strauss' Der Rosenkavalier is another scene we love and here we had soprano Brandie Sutton as Sophie and the versatile Ms. Rapier as Octavian. Ms. Moore appeared again lending vocal and gestural dignity to the role of the Marschallin. The three voices harmonized so beautifully and Mr. Reynolds created an entire orchestra in the piano. The "silver rose" theme came through gently but clearly.

An interlude of the third movement of Mozart's String Quartet #23 in F Major, performed by the superb Verona Quartet, was followed by the Finale of Act II of Donizetti's Lucia di Lammermoor.  In this scene, poor Lucia (Ms. Stucker) is being reluctantly married off to the unwitting suitor Arturo (Mr. Stenson) by her desperate brother Enrico (Mr. Liverman). Lucia's true love Edgardo (Mr. Castro) arrives at a crucial moment and bloodshed is threatened with Raimondo (Mr. Van Heyningen) trying to keep the peace. The other singers for the evening composed the chorus. Again, the direction was astute and the scene was not only finely sung but believably acted.

Maestro Glen has been known to us for years as an outstanding pianist but just wait until you witness his conducting acumen! 

There were excellent titles for the operas in foreign languages but there were also useful brief summaries of the scenes in the program.

Tomorrow's event promises to be just as compelling with the same superb singers on hand. Tonight proved just how versatile these artists are and we have no doubt about their ability to handle all the goodies on tomorrow's program.  We don't want to give everything away but let's just say there will be something wonderful from Bernstein's Candide and something by Mozart that everyone will love.

(c) meche kroop

THE THREE BARITONES

Glen Roven, Jarrett Ott, Steven LaBrie, and Tobias Greenhalgh

Glen Roven is a composer, pianist, and impresario. His recording company has just released a new CD-- Remember starring three rising stars of the opera world; last night a celebration was held at Weill Recital Hall. Mr. Roven mentioned that this is the first recording for each of these "exploding stars". 

Each of the three celebrated baritones are well known to us from Juilliard, Brooklyn Art Song Society, Santa Fe Opera, and from competitions they have won.  What a treat to hear them all together! As pointed out by Amy Shoremount-Obra, there was a lot of testosterone backstage!  And a lot of handsomeness, we might add.  We are not fond of the designation "Barihunks" but we cannot think of a better description.

From the informative program notes by pianist Michael Brofman, we learned that the baritone fach originated in the bel canto period.  Who knew! More reason to appreciate Rossini, Bellini, and Donizetti.

The program opened with three guest artists with low voices, men who are more advanced in their career arcs.  Arranged by Mr. Roven, Ouverture dei Baritoni involved baritones Robert Wesley Mason and Kyle Pfortmiller, along with bass Branch Fields performing a medley of operatic hits in unison and also sequentially. We were delighted to hear arias by Mozart, Verdi, Rossini, Bizet, and also some Broadway tunes. There was even a cancan performed to the "Toreador Song" from Carmen and choreographed by James Gray. What fun! 

Guest artist soprano Amy Shoremount-Obra performed John Duke's Four Poems by Emily Dickinson, using her generous instrument, lovely phrasing, and crisp enunciation to bring out Mr. Duke's appealing vocal line and Ms. Dickinson's deeply felt text. Andrew Rosenblum's piano did justice to Mr. Duke's many moods bringing out the tumultuousness of "Heart, we will forget him!" and the sweetness of "Nobody knows this little Rose".

She also performed Mr. Roven's duet "The Promise" with Mr. Fields; the texture of the two voices blending and overlapping was quite attractive but Jane Hirshfield's poetry went by without our comprehension.

Tobias Greenhalgh provided a preview of an aria from John Adams' Dr. Atomic, which we will be reviewing this summer at Santa Fe Opera. His performance was a deeply felt and expressive one but we cannot say that John Donne's text wanted to be set to music.

The remainder of the program comprised selections from the new recording.  Mr. Roven related that all the works on the CD were written by living composers. This is probably a big drawing card for many music lovers since Weill Recital Hall was packed. Contemporary vocal music is just not our taste, as regular readers already know. We keep listening and hoping to find something we like but it rarely happens. We were surprised to have liked the John Duke settings as much as we did. 

Accompanied by Mr. Brofman, Mr. Greenhalgh sang Four Surreal Songs by Mr. Roven, settings of text by Paul Éluard. Mr. Greenhalgh has a firmly centered baritone and used every color in his vocal palette to make sense of rather senseless poetry. We liked some of the piano writing, especially the descending arpeggi of "Arc of Your Eyes".

Accompanied by Adam Nielsen, Steven LaBrie exhibited a great deal of vocal power, an interesting texture, and some fine French diction for Benjamin C.S. Boyle's  Le passage des rêves, a setting of text by Paul Veléry.  We liked Mr. Nielsen's delicate piano in "La dormeuse".

Lori Laitman's setting of text by Joan Joffe Hall "The Joy of Uncreating" did not ring our bell. We wondered whether the poet of "Illumination" was writing of the experience of waking from a coma; the piano part was far more appealing than the vocal line.

Jarrett Ott's appealing baritone served well for Jake Heggie's Of Laughter and Farewell. Vachel Lindsay's text "Under the Blessing of your Psyche Wings" rhymed and scanned and we wished the vocal line had done more with it. The piano part, played by Daniel Zelibor, for "By the Spring, at Sunset" was more appealing than the vocal line.

Jennifer Higdon, composer of the opera Cold Mountain, which we heard at Santa Fe Opera, set excerpts of Walt Whitman's poem "When Lilacs Last in the Dooryard Bloom'd" and created a piano and baritone arrangement specifically for Mr. Ott and dedicated the work to him. We kept wishing that we could catch the fragrance of our favorite flower, the one for which we visit Lilac Walk in Central Park every May. We did not. We couldn't keep from thinking about "Le temps des Lilas" by Chausson which gives us an olfactory thrill.

Fortunately, the final work on the program appealed to our ears to a far greater extent. Mr. Roven took to the piano himself for his composition "Remember", setting of a text by the 19th c. English poet Christina Rossetti. Perhaps it was the fact that the sentiment was meaningful and comprehensible; perhaps it was the fact that the text rhymed and scanned; perhaps it was the sound of all three baritones together. (Mr. Roven pointed out that the recording was made with each artist recording in a different city and tracks assembled later. But we were privileged to hear them singing it together for the first time!)  In any case, it ended the recital on an auspicious note.

The enthusiasm of the audience makes us want to encourage you to buy the CD, if contemporary music is to your taste.  On our part, we prefer to hear the artists singing other material. We'd love to hear Ms. Shoremount-Obra sing some Wagner. We yearn to hear Mr. LaBrie as Escamillo. Mr. Greenhalgh's Eugene Onegin would throw us into a joyous delirium. As far as Mr. Ott, well, we are going to hear him sing Maximilian in Bernstein's Candide within 3 months in Santa Fe.  Watch out for the review!

(c) meche kroop

A PERFECT ROLE FOR MS. DI DONATO

Anthony Robin Schneider and Joyce DiDonato

Joyce DiDonato's master classes are legendary. She has a marvelous manner with young singers, using every tool at her disposal to bring out what is best and most uniquely theirs. Having attended her master classes before, we began to see a pattern. She seems to emphasize authenticity from moment to moment so the aria or song seems to be composed on the spot--never labored or "worked over".

She began the class by praising Carnegie's Weill Music Institute, calling attention to many of their outreach programs. Then she began working with mezzo-soprano Miya Higashiyama on Cherubino's aria "Voi che sapete" from Mozart's Nozze di Figaro. Clearly Ms. DiDonato had given a great deal of thought to Cherubino's background, present state, and desires; she worked diligently to get the student to sing with intention.

This does not call for excessive gesture or over-acting, but rather to knowing internally what Cherubino is feeling and what he wants.  The metaphor she used was wonderful; Cherubino is trying to draw the Countess in like reeling in a fish!  And the legato vocal line becomes the fishing line. She advised less concern on vocal production and more on simplicity and authenticity.  Something between excitement and restraint is called for. How many actors have heard the refrain "Be it, don't show it!"  Well, that applies to singers as well.

Colombian soprano Amalia Avilán Castillo worked on "Addio, senza rancor" from Puccini's La Bohème. Her vulnerability was praised and she was given permission to enjoy her "big moments".  Several methods were illustrated to increase the resonance by being on the breath, starting with humming. She was encouraged to keep the resonance up in the mask and to stop and start over if the voice drops. If a note is repeated, one must recreate it anew each time.

Which brings us to a most important point.  If a singer "gets it right", s/he should not repeat him/herself but rather repeat the process leading up to the success.  A fine point, but a worthwhile one.

Countertenor Daniel Moody sang an aria from Hãndel's Giulio Cesare. In his case also, simplicity was encouraged, allowing the voice to deliver the music.  Living in the moment is a great idea, not just in life, but in singing. He was advised to abandon his musicality and to work on his breath. The technique is interesting and yet familiar. One begins by hissing the breath and keeping it steady to achieve a legato line.

Once that is established, one can move on to singing on a vowel before adding the words. The breath must be constantly engaged with vowels maintained in the same spot. Intake of breath must be easy; gulping breaths or breathing into the collarbone area just won't do. Every phrase can be deconstructed in this manner so that the muscles will remember. 

The final singer on the program was bass Anthony Robin Schneider who sang "Vi ravviso" from Bellini's La Sonnambula. Clearly Mr. Schneider has a very sizable bass and he was encouraged to sing brighter with a more slender sound, a more youthful sound. Ms. DiDonato pointed out that young basses are often encouraged to imitate older basses with huge voices; but by placing the resonance higher, more colors can emerge.

The technique used to achieve this was to sing on the sound "ee". Indeed, the audience approved of his easier fresher sound although he was not yet comfortable with it himself. Ms. DiDonato seems to have a bag of tricks at her disposal and knows exactly which one will be the key to open up the possibilities of each individual singer.

Accompanists for the class were Justina Lee and Adam Nielsen. The four students had prior classes with Ms. DiDonato on the two preceding days.  We wish we had been free to attend; we can see a great deal of value in observing the singers' progress over a 3-day period.

(c) meche kroop