VOCE DI MECHE GOES UNDERGROUND

Catherine Swindle, Elizaveta Kozlova, Alexandra Lang, Angela Candela,
Jason Wirth, Manami Aoki, and Jose Luis Maldonado

Once upon a time, we wrote about underground restaurants and got chubby; writing about underground singers makes us happy. For these delightful showcases at Scorca Hall in the National Opera Center, we have soprano Angela Candela to thank. Long on our radar screen as a singular soprano with divine dramatic instincts, Ms. Candela has proven to be an inventive impresario.

Her Underground Salons provide a supportive environment for rising stars to try out new material in front of an accepting audience. The singers may want to use this material for upcoming auditions so they value the experience of running their selections past a live audience.

From our point of view, it is a golden opportunity to hear singers we love trying out new roles and also to get acquainted with new singers. Let us begin with Ms. Candela herself whom we have always appreciated for bringing a character to vivid life.

Under workshop circumstances, we tend to be more forgiving of the presence of a music stand, especially when the language involved is Czech. Dvorak's "Song to the Moon" from Rusalka presents vocal challenges and linguistic ones as well, both of which Ms. Candela met easily. But it was the dramatic aspect that captivated us.

We always feel super involved when the singer allows us to see the scene through his/her eyes and this is a skill at which Ms. Candela excels. We couldn't take our eyes off her face as she watched the virtual moon disappear behind virtual clouds and then reappear. It was all reflected in her face and we were transported. Soon, the occasional glances at the score will be unnecessary and there will be a stunning audition piece in her portfolio.

Baritone José Luis Maldonado is another singer who has been on our radar screen for some time. Again, it is not just his powerful instrument or refined technique that draw us in, it is his ability to create a living breathing and believable character.

Last night he gave us a livid Falstaff, berating Pistola and Bardolfo for defending their "honor" when he requested their services in delivering identical letters to Meg Page and Ann Ford. His Falstaff is larger than life, just as he should be. Every gesture, every facial expression, every variation of dynamics seemed spontaneously motivated by the text. Probably it takes a lot of work to seem so spontaneous!

He also performed Figaro's aria with uncanny ability to go from the lowest end of the register to a mincing falsetto top. He was perfectly flexible in Rossini's rapid patter section and we held our breath as he extended his held notes, evincing superlative breath control.

Elizaveta Kozlova, also well known to us from Mannes and IVAI, performed Pamina's Act II aria from Mozart's Die Zauberflöte--"Ach, ich fuhl's". She appropriately darkened her bright soprano instrument to reflect Pamina's despair and painted a sympathetic portrait of a woman who feels she has lost her lover. We noted a pleasing vibrato and some well negotiated descending scale passages.

We were happy to hear her second selection from Rimsky-Korsakov's The Snow Maiden. Of course Ms. Kozlova is totally comfortable in Russian which added to our pleasure. We enjoyed the opportunity to get reacquainted with this gem of a Russian fairytale which we so greatly enjoyed at Manhattan School of Music last year. There were some lovely melismatic passages to delight the ear.

Alexandra Lang is another singer we have been watching for a few years. Possessor of a generous dramatic soprano instrument and passionate acting skills, we have been unable/unwilling to pigeonhole her talent. Last night she performed Hélène's Act V aria from Verdi's Les vêpres siciliennes. There were some impressive vocal effects including a lovely liquid trill and a stunning climax.

New to us was soprano Manami Aoki who wanted to try out her French.  Alfred Bachelet's sensuous "Chère nuit" offered her an opportunity for a well modulated performance demonstrating warmth of tone and lovely phrasing. She also sang Micaëla's aria "Je dis que rien ne m'épouvant" which suited her voice and stature perfectly. The vibrato in her upper register was a joy to hear. The sound was Gallic and the small imperfections in the language can be readily improved.

Also new to us was soprano Catherine Swindle who sang "I am not my own" from Mark Adamo's Lysistrata. We always have a hard time overcoming our dislike for contemporary American opera and this is not the one to win us over. As Ms. Swindle explained to the audience, it is about a woman who refuses to abandon her anti-war stance. It is difficult to appreciate a voice singing in English and we wish Ms Swindle had chosen a different selection. We did not understand a lot of the words which so often happens with English. About all we could say is that we enjoyed her middle register. We would like to hear her again singing something in Italian!

Jason Wirth was the worthy accompanist for the evening and excelled at everything he undertook. We particularly enjoyed his spirited playing in the Verdi.

This is a finely designed showcase and we appreciated how each singer introduced her/himself and described the background of each aria.

© meche kroop

UNDERGROUND SALON

Felix Jarrar, Alexandra Lang, Angela Candela, Gillian Watson, Celeste Morales, Robert Colon, and Chantal Brundage

What a splendid idea to provide a safe place for young artists to try out new material. Angela Candela's brainstorm is in its second year and we are so glad that we were able to attend. We have wonderful memories from last April as well as from last night. We heard a few sopranos that we have heard before and a couple who were new to us, as well as a countertenor. All were accompanied by the versatile pianist/composer Felix Jarrar who always gives his all to whatever he undertakes.

Several of the singers have upcoming auditions and competitions and were trying out their arias in front of a live audience, all the members of which were supportive, giving them the applause they so richly deserved. A few asked us for suggestions to improve their presentations but those who asked struck us as being performance ready. All the singers introduced themselves and told the background of the arias they were about to sing. This is so helpful and we thought of this as event as the perfect one with which to introduce an opera newbie.

Ms. Candela is a remarkable soprano whom we have reviewed a number of times -- at the gala of Classic Lyric Arts and at the International Vocal Arts Institute. Her ability to slip into any role makes her an artist to watch. We still recall her hilarious "Je suis grise".

Her Mimi last night (from Puccini's La Bohême) served to introduce her character in a way that made us want her to "get the guy". Like any young woman on a first date she was "selling herself" with both winsomeness and flirtatiousness. She colored her lovely voice with sweetness and negotiated the upward leaps with a satin legato.

Later in the program, she picked up where Chantal Brundage left off in Violetta's Act I scene from Verdi's La Traviata. Ms. Brundage gave gravitas and vulnerability to the "Forse lui"  and Ms. Candela stepped in with the fiery cabaletta "Sempre libera", filled with stunning coloratura effects. What a versatile artist she is!

Celeste Morales is well remembered from her admirable Alice in Verdi's Falstaff at Manhattan School of Music. Last night she gave a deeply affecting performance of Liu's aria "Signor ascolta" from Puccini's Turandot. With terrific technique, she portrayed the desperation and anguish of the slave girl warning her master. The sets and costumes appeared in our mind's eye--always a good sign of a successful portrayal. We loved the legato line, the Italianate phrasing, and the dynamic variety.

In a total change of pace, she also performed Joseph Marx's romantic "Hat dich die Liebe berührt"; we are pleased to report that the German was excellent. We were inspired to hear more of this late 19th c. Romantic composer. 

The first time we met Alexandra Lang, she was directing a charming pastiche of operetta for New Camerata Opera, which may actually have been our introduction to the company that was to grow into a successful presence on Planet Opera. Last night she tackled the extremely difficult mad scene from Donizetti's Anna Bolena and made us sit up and take notice.

Not only is the vocal line devilishly difficult but the singer must portray a wide range of emotions by employing a variety of vocal colors. The doomed Queen faces death with denial at first, luxuriating in some pleasant memories, and then with panic. The flowing legato of the aria was followed by a fioritura-filled cabaletta, marked by accuracy in the scale passages and arpeggi. It was riveting and we believed Ms. Lang's characterization.

Gillian Watson is new to us and we were glad to have her brought to our attention. Her bright and powerful instrument was put to good use in "Mi tradi" from Mozart's Don Giovanni. She evinced a fine vibrato and successfully negotiated the melismatic arpeggi. She limned the character of Donna Elvira with fine vocal control combined with generous use of gesture.

Later in the program we heard her fine French in "Il est doux, il est bon" from the seldom performed Hérodiade by Massenet.

Robert Colon, the sole male on the program, is listed as a countertenor but the unevenness throughout his register made it difficult to place him in that fach. He sang our beloved "Verdi prati" from Händel's Alcina with feeling and expressiveness and some very interesting embellishments of the vocal line in the repeat. However, he needs to work on getting his voice centered and perhaps considering a different fach. His second selection was "on the book" and did nothing to change our initial impression since we heard a lot more chest voice than one would expect from a countertenor.

The concert lasted but an hour but gave us a great deal to appreciate. We hope we will be free for the next Underground Salon.

© meche kroop

TRISKAIDEKAPHILIA

Erik Bagger, Barbara Porto, Director Desiree Alejandro, Caroline Tye, and Maestro Whitney George

Don't feel bad if you didn't know the meaning of the title of New Camerata Opera's show--Triskaidekaphilia. We had to look it up ourselves; it means "obsession with the number thirteen". This was quite appropriate since the show opened on Friday the 13th. We regret to inform you that if you weren't there this weekend you missed one helluva show.

The stated mission of New Camerata Opera is "to engage, to excite, and educate through immersive performances that break down barriers and inspire the fans of the future". This goal was achieved 101%. The guest we invited was as new to opera as we are experienced and we both appreciated it equally. Just seeing a house packed with millennials brought joy to our heart. 

What we experienced surely represents the future of opera--an immersive experience, up front and personal, intensely involving, and ultimately satisfying. The enthusiasm of the audience gives proof of the accomplishment of the stated mission.

We have seen Gian Carlo Menotti's one-act opera The Medium several times but found enhanced emotional resonance in this staging by Director Desire Alejandro. We may as well have been one of Madame Flora's deluded clients, so involved were we with the onstage action.

Here's the story in case you don't know it. For years Madame Flora has run phony seances and taken money from believers desperate to contact their dearly departed loved ones.  To this purpose she has enlisted the services of her daughter Monica and a mute Hungarian gypsy boy named Toby whom she rescued from the streets.  While "under the influence" she begins to hallucinate the "ghosts" and blames Toby.  She becomes fearful and then hysterical with tragic results.  

We attributed her fear of ghosts to a combination of guilt and alcohol but our guest believed the story to be one of supernatural revenge in the face of her deceit, exploitation, and greed. A brief chat with Ms. Alejandro was valuable.  She pointed out that Madame Flora had probably survived all kinds of evils in her native Hungary, including the Holocaust. This would explain much about her survivor mentality. Leaving the audience in a state of puzzlement is also a feature of Britten's opera The Turn of the Screw.

As interpreted by mezzo-soprano Caroline Tye, she is a compelling figure--controlling, angry, and manipulative; Ms. Tye inhabited the role like a custom made garment. There was no attempt to create a "pretty" sound but rather to use her substantial instrument to illuminate these aspects of Madame Flora's character. It was a totally committed performance, exactly what was called for. When she unravels, her aria "Afraid, am I afraid" cut to the bone.

Her daughter Monica was beautifully embodied by soprano Barbara Porto. Where her mother was vicious and abusive to the mute Toby, Monica was loving and caring, giving voice to his thoughts. Her gleaming instrument and youthful stage presence were just perfect for the role. She had two fine arias--the well known "Monica's Waltz" and "The Black Swan".

At first we thought it was a waste to cast tenor Erik Bagger in a non-singing role but it gave us an opportunity to take measure of his acting skills. His Toby was a sympathetic character whose tragic end gave us herzschmerz. Fortunately, we got to hear him sing later.

Soprano Alexandra Lang was excellent in the role of Mrs. Gobineau, a client of Madame Flora who had suffered the loss of her infant son; she had visited the medium weekly for years just to hear her lost baby laugh, an effect provided by the hidden Monica. Baritone Scott Lindroth finely portrayed her husband. The new client, Mrs. Nolan, was well performed by mezzo-soprano Eva Parr. Her character was there to connect with her departed teenage daughter Doodley. All three singers conveyed the willing gullibility of bereft parents. We felt for them; and that's good acting and good singing.

Music Director and Conductor Whitney George distinguished herself on the podium with pianist Nora Bartosik creating an almost orchestral sound on her Kawai keyboard. Adding to the wealth of sound was percussionist Joe Tucker who excelled on the vibraphone. Violinist Adam von Housen bowed his violin with a fine tone that contributed to the whole. It is notable that Maestro George arranged much of the transcriptions and arrangements, and did a splendid job of it.

The same musicians were on board for the second half of the evening--a cabaret comprising a wide variety of works dealing with the macabre. The Medium was so satisfying that we could have left in a state of fulfillment, but then we might have missed some excellent performances.

Fortunately, Mr. Bagger returned for the second half, complete with blood-stained shirt, but this time in full possession of his voice. He delivered a fine version of Kurt Weill's "Youkali" and joined the ensemble for a work by Brahms that was new to us--"Wechsellied zum Tanze". All the singers in the cabaret appeared as ghouls in scary makeup by Shannon Mae Mulligan.

We heard Camille Saint-Saens' "Danse macabre" in two forms. The opening featured Mr. von Housen's violin and the closing was sung rapid-fire by Mr. Lindroth. Ms. Lang performed Poulenc's "Mon cadavre est doux comme un gant" and baritone Stan Lacy performed Debussy's "Beau soir". Both artists employed fine French diction.

Mezzo-soprano Julia Tang did a fine job with Britten's "Funeral Blues" and Ms. Parr came on strong in "Yo soy Maria" from Astor Piazzolla's tango opera Maria de Buenos Aires which we reviewed a few years ago. Tenor Victor Khodadad performed the chilling Schubert song "Die Erlkonig" with a woman in red portraying the fantasy figures in a masterstroke of visual design.

We would be remiss not to mention the visual elements contributed by The House of Yes, a most unusual and funky performance space in Bushwick. We have not seen the like of it in Manhattan. Aerialist Roxie Valdez performed on a trapeze and fabric rope. Singers climbed up the walls. Aisles and balconies were put to use. If we weren't so busy documenting the singing we might have had more to share with you.

(c) meche kroop

PROSIT TO NEW CAMERATA OPERA

A toast to The Count of Luxembourg and Other Tales: a Viennese Pastiche

It is amazing what good entertainment can do for one's spirits. The weather outside was damp and uncomfortable last night but when we exited Shetler Studios after this delightful performance, our spirits were as high as the top of the Empire State Building.

New Camerata Opera is a brand new ensemble company comprising eight marvelously talented young artists.  We enjoyed ourselves so greatly that we urge you to book your tickets for next Thursday or Saturday, which will end this successful run.  The performing space is small and there are only a few tickets left. You are guaranteed a bubbly evening listening to aural champagne and watching some hilarious hijinx that have endured a century.

Soprano Alexandra Lang, herself a superb singing actress, conceived and directed this pastiche, putting together music from operettas by Franz Lehar and Johann Strauss. The major storyline is Franz Lehar's The Count of Luxembourg with interpolated songs from Die Lustige Witwe, Die Fledermaus, and Das Land des Lächelns. The most familiar of these songs--"Trinke, Liebchen, trinke schnell", "Brüderlein", "Dein ist mein ganzes Herz", "Chacun à son gout", and "Lippen schweigen"--seemed right at home within the storyline.

The storyline is one of romantic matches and mismatches.  Of course, all turns out well in the end, with the help of a deus ex machina or two.  Polish Prince Basil Basilowitsch (Scott Lindroth) is in love with singing star Angèle Didier (Alexandra Lang) whom he cannot marry because she is a commoner.

Marital registrar Pélégrin (Victor Khodadad) cooks up a plan for Angèle to marry a wastrel --the eponymous Count of Luxembourg (Stan Lacy)--who accepts a huge fee to participate in this fake marriage to a woman he never gets to see, with the proviso that they never meet and get divorced after 6 months. Then she will be a Countess and Prince Basil can marry her.

In a subplot, the starving young painter Armand Brissard (Erik Bagger) cannot afford to marry his sweetheart Juliette Vermont (Barbara Porto) but the sale of one of his paintings brings in a tidy sum.  He must keep the affair quiet because of the secret marriage and Juliet gets rather upset when she learns that he has the necessary funds and has not yet proposed.

All the performances were splendid but two stood out-Julia Tang did a fine turn as the dissipated Prince Orlofsky who opened the evening's entertainment.  Eva Parr entered toward the end as one of the "deus ex machina"--Prince Basil's aunt, the Countess Stasa Kokozow who exhibited aristocratic arrogance and charm in equal measure.

Musical values were delightful all around.  Michael C. Haigler conducted from the piano--an excellent arrangement for flute (Jason Brook), violin (Monica Martin) and cello (Keiran Campbell). Although there was at least one number in 2/4 time and a frisky polka, most of the numbers were waltzes and we could barely sit still. Choreography was by Bridget Bose.

The dialogue was spoken in English and the songs were sung in the original German, a choice of which we heartily approve. Translation was by Dr. David Wilson. German diction was faultless but there were good subtitles projected off to the side if one needed a peek..

We don't know what New Camerata Opera has in the works but whatever it is, we plan to be there. As stated in the program they plan to offer a wide range of repertoire both live and through digital media channels. There is a mention of more pastiche (we surely hope so!), innovative presentations of classical vocal music, adaptations of rare operatic works, newly commissioned works, and operas adapted for children.  That's quite an undertaking!

(c) meche kroop