DON JOSE ON THE COUCH

John Kim, Conrad Schmechel, Bonnie Frauenthal, Michael Celentano, Melissa Serluco, Paul Khoury, Perri Sussman, and Julia Gmeiner

Although we generally take a dim view of updating the classics, what Lenora Eve accomplished with Bizet's Carmen was nothing short of miraculous. As President, Founder, and Artistic Director of Opera Breve, Ms. Eve devised an original concept that shed new light on the opera. She gave herself the role of psychoanalyst Dr. Eve Stone, delivering a paper on "Love, Obsession, and Addiction", illustrating the pathology of one Don Jose whom she had interviewed as he was on death row, awaiting execution for the murder of Carmen.

She did an impressive job of presenting the scenes of the opera onstage as illustrations of the points she made from her offstage podium. This concept appealed enormously to our psychoanalytic self and sounded exactly like papers we have heard at psychoanalytic conferences. The amazing thing was that her theorizing was astute and accurate.

One point that we had never considered is that Don Jose saw himself as a victim and was unable to see his role in the tragedy.  Carmen was portrayed as an insecure woman, fearful of abandonment, using her wiles to bring men close to her and then dumping them before they could abandon her. We found this interpretation thought provoking.

Moreover, the eight performers cast in the opera seemed to intuit Ms. Eve's analysis or were very well directed by her. The entire cast sang well and their French, if not always perfect, was perfectly understandable. The diction and acting were so on point that titles were unnecessary.

As the eponymous Carmen, mezzo-soprano Melissa Serluco turned in her customary fine performance. As befitting Ms. Eve's concept, there was nothing sinister about her seductions and one could feel considerable empathy for the character. Both the Habanera and the Seguidilla were performed with style and substance. Having enjoyed her performances with Utopia Opera and Amore Opera, we were unsurprised by the rich texture of her voice and fine phrasing.

We felt the same appreciation for soprano Bonnie Frauenthal's Micaela, even though her character was presented in the traditional fashion--shy, innocent, vulnerable, but calling upon faith to give her courage. Ms. Frauenthal has a lovely bright instrument and used it well in the service of the music and the character. Her "Je dis que rien ne m'epouvante" was incredibly moving. We have heard and enjoyed Ms. Frauenthal's performances with Dell'Arte Opera Ensemble and Utopia Opera.

Both of these young artists seem to be in demand by New York's most impressive boutique companies, as is the terrific tenor Michael Celentano, whose performances we have also enjoyed in lots of major tenor roles. As Don Jose, he sang and acted with distinction, seeming to convey the very points made by "Dr. Stone" at the podium. We loved the way he sang "La fleur que tu m'avais jetee" and the abject manner in which he begged Carmen to return to him.

His duets with Carmen and with Micaela were marked by depth of feeling and lovely vocal balance.

Soprano Julia Gmeiner as Frasquita and mezzo-soprano Perri Sussman as Mercedes added a lot of personality to their roles as friends of Carmen who flirted wildly with Escamillo (Paul Khoury, who managed to sing while twirling his cape and engaging in a knife fight with Don Jose) and accepted money for their sexual favors at Lillas Pastia's tavern cum brothel.

Tenor John Kim made a fine El Remendado and also doubled in a very funny turn as a shy reluctant client at the brothel.  His facial and bodily expressions were priceless. Baritone Conrad Schmechel was a fine addition as El Dancairo.

We always look forward to the humorous scene of the smugglers planning their next adventure. Here, it was particularly well done.

Replacing Bizet's stunning orchestration with a piano reduction is always hit or miss.  In this case, it was clearly a hit.  Pianist Matthew Lobaugh has the normal set of ten fingers but we heard the sound of scores of instruments.

Combat Director Joseph Melendez was so effective that we were holding our breath in anxiety for the artists.  Not to worry.  No one was at risk; it just looked that way.

Kristine Koury's costumes were simple for the most part and contemporary in style. Don Jose wore army fatigues; Escamillo had a fine matador costume with a cape of gold, not red. We like the dresses worn by Frasquita and Mercedes which had a definite flamenco flair. Micaela was dressed like a country girl; it was perfect.

We were delighted to see an old warhorse in a fresh light. If only other directors were similarly original with their concepts and creative in their executions! Unfortunately, most of them seem to come from a place of directorial arrogance and self aggrandizement and have nothing original to say.

The best proof of this production's success was that our companion for the evening had never seen an opera before and has declared himself as an ardent fan, eager for more experiences. If a small and adventuresome company can win converts like that, we must consider them a roaring success!

(c) meche kroop

VIOLETTA AND HER SISTERS--by Dell'Arte Opera Ensemble

Sean Christensen as Des Grieux and Nick Webb as his father in Massenet's Manon
(photo by Mark Baker)

Bonnie Frauenthal as Violetta embraced by Jose Heredia as Alfredo in Verdi's La Traviata (photo by Mark Baker)

Scene from Leoncavallo's La Bohème (photo by Mark Baker)

Scene from Puccini's La Rondine (photo by Mark Baker)

Every August we hurry back from Santa Fe to enjoy Dell'Arte Opera Ensemble's season, which always offers fresh delights. The theme of this year's season was "Violetta and her Sisters", comprising a selection of operas, the heroines of which were members of the demimonde. A very fine program note by Director Victoria Crutchfield provided new insights into the subculture of these women. It is happily left to the audience to ponder whether such women exist in 21st c. America.

Dell'Arte Opera Ensemble serves young artists by bridging the gap between academic training and a successful career; participants receive coaching, master classes, and performance opportunities. They serve the opera loving public by providing low cost high quality performances. One gets to see the stars of tomorrow at the early stages of their careers.

Verdi's La Traviata was given a highly moving production, thanks to some wonderful performances. As Violetta, soprano Bonnie Frauenthal sang and acted as beautifully as one might wish; right from the "Sempre libera" of Act I, we knew she was right for the part.

As her young respectable lover, tenor Jose Heredia pulled his performance from a very deep place.  He seemed to live the role, rather than act it; his pure voice has a lovely tonal quality. We particularly enjoyed his "De', miei bollenti spiriti".

Mezzo-soprano Hillary Grobe was an impressive Flora and soprano Ileana Santamaria made a fine Annina.  Violetta's patron Barone Douphol was portrayed by the versatile baritone Nobuki Momma with Boris Teodoro as the Marchese d'Obigny and Kofi Hayford as the good Dottor Grenvil.

Christopher Lilley sang the role of Gastone who sets the plot moving by introducing Alfredo to Violetta. Jeremiah Johnson brought very little to the role of Giorgio Germont, Alfredo's father, delivering an unattractive sound and no variation of color.

Famous baritone Kyle Pfortmiller directed; we especially enjoyed his staging of the party scenes. John Spencer IV conducted the Dell'Arte Opera Ensemble Festival Orchestra in a fine reduction suitable for the score of musicians. We appreciated Mary Ellen Stebbins lighting design in the final act when imaginary drapes are opened and dawn lights up the set.

Violetta happens to be one of our favorite characters in opera and Manon is one of our least favorite. Violetta has character and dignity. Manon is just a selfish manipulative tramp who destroys those around her.  In this production, directed by Victoria Crutchfield, we see her as the materialistic slut she really is.

Even in Act I, as portrayed by soprano Olivia Betzen, she does not seem to be all that innocent. Apparently her family is shipping her off to a convent for some very good reasons.

Her admiration of the three  glamorous "kept women" and her flirtation with the arrogant Guillot Montfortaine (superbly portrayed by Andrew Surrena) plus her stealing of the coach give us ample indication of her lack of character. One can dislike the character and admire the performance, which we did, especially her "Adieu, notre petite table". 

As the foolish Des Grieux, Sean Christensen handed in a stellar performance. The tessitura is high but he rose to the challenge, singing with pure tone, lovely phrasing, and impeccable French diction. The sincerity of his acting had us feeling very sorry for the character.

Baritone Nick Webb was superb as his severe father who was just as critical of his involvement with the church as he was of his son's involvement with Manon.

We did not care for the Lescaut of baritone Stan Lacy whose harsh voice lacked variety of color. The versatile Mr. Momma made a slimy Brétigny who joined forces with Lescaut to pry the all-too-willing Manon from the arms of Des Grieux.

We very much enjoyed the performances of the three "actresses"--Kristina Malinauskaite as Poussette, Perri Sussman as Javotte, and Hillary Grobe as Rosette.

Chris Fecteau himself wielded the baton, guiding the Festival Orchestra through Massenet's gorgeous melodic score. Anyone possessing a pair of ears could not help but leave humming the several tunes that wove the score together.

A third evening paired Act I from Puccini's reasonably well known La Rondine with Act I and Act IV  of Leoncavallo's forgotten La Bohème.  Director Brittany Goodwin staged the Puccini work in the 1960's, which worked surprisingly well.

Soprano Rebecca Richardson sang the role of Magda, a woman supported in high style by the grumpy but generous Rambaldo (Mr. Momma again!) but eager for a new experience with the young Ruggero (Mr. Christensen again). We enjoyed her recapitulation of the aria "Chi il bel sogno di Doretta", introduced by the poet Prunier (Douglas Sabo).

Emily Hughes shone in the role of Lisette, Magda's personal maid, who amusingly helps herself to Magda's attire. Her scene with the contemptuous Prunier criticizing her taste was amusing.

Magda's three friends, in full hippie regalia, were pure delight. Yvette was sung by Zoe Hart, Bianca by Taylor Kirk, and Suzy by Sophia Mortensen.

The surprise of the season was Leoncavallo's version of the same Henri Murger stories we know from the Puccini work. Leoncavallo wrote his own libretto whereas Puccini employed the services of Illica and Giacosa. Although the music is wonderful, the libretto may have been responsible for the failure of the Leoncavallo work to survive.

The characters are pretty much the same, although Marcello has been assigned the lead role in the tenor fach. In Act II, Marcello gets a wonderful aria "Io non ho che una povera stanzetta" which was recorded by Enrico Caruso but not heard on this particular night.

Jose Heredia made a fine Marcello with the lovely Magda Gartner as his girlfriend Musetta. Jay Chacon sang the baritone role of Rodolfo with soprano Ileana Santamaria singing beautifully as Mimi. Mr. Momma portrayed Schaunard who, in this version, has a clingy girlfriend Eufemia (mezzo-soprano Nicholle Bittlingmeyer) whom he treats dismissively. Colline was sung by Bert Boone.

Direction was by Joule Voelz. This is the first season for the Opera Leaders Mentorship Program in which young stage directors, designers, conductors and pianists get expert guidance on the job.

All participants in the program leave with something of value. The singers have at least one new role "under their belt" and many of them have several. This surely enhances their employability.

And members of the audience appear to be enjoying themselves enormously as evidenced by the standing ovations.  These were evenings well spent!

(c) meche kroop

THE ADAMANT PRINCESS IDA

Eva Giorgi, Bonnie Frauenthal, and Martin Everall

How often does one have unmitigated fun at the opera?  If you can't remember the last time, get yourself to Hunter College (Lang Recital Hall) for Utopia Opera's production of W.S. Gilbert and Arthur Sullivan's Princess Ida.  You will hear great music, laugh at funny dialogue, witness an episode of cross-dressing (gasp!) and laugh yourself silly.  And why not!!!

Alfred, Lord Tennyson wrote a narrative poem in 1847 which inspired William Gilbert to adapt it as a play in 1870, utilizing music by Rossini and Offenbach. But the operetta we enjoyed last night, directed and conducted by that OTHER William (Remmers), required all new music by Arthur Sullivan. It was written at the midpoint of their Savoy partnership and is the only one of this oeuvre that is written in iambic pentameter.

Tennyson's poem, the play, and the operetta all satirize themes that were important in the second half of the 19th c. --Darwinian evolution, feminism, and the radical idea of educating women! Indeed, Tennyson wrote "The Princess" just when Queens College was opened to educate  women.

The play involves the lovely Princess Ida (beautifully sung by Bonnie Frauenthal) who refuses to go through with the marriage contracted for her when she was a year old. She has established a university for women from which men are barred.  She is adamant.  (The alternative name for the operetta is Castle Adamant.)

Her intended husband, Prince Hilarion (sweet-voiced tenor Mitchell Roe), along with his two companions-- Cyril (tenor Matthew Hughes who has the comedic style of Nathan Lane) and Florian (baritone Matthew Walsh)--must infiltrate the university dressed as women.

Princess Ida's father King Gama (played hilariously by comic baritone Martin Everall) is being held hostage by Hilarion's father King Hildebrand (bass-baritone Jack Anderson White), along with King Gama's three apelike sons Arac (Ben Cohen), Scynthius (Jonathan Dauermann), and Guron (Spencer Leopold-Cohen)--to ensure fulfillment of the contract.

The funniest lines of the libretto belong to King Gama and Mr. Everall's delivery of patter was sensational as he tries to describe why no one likes him.  (We LOVED him!).  Great amusement was provided by Lady Blanche (mezzo-soprano Eva Giorgi) who is the very strict Professor of Abstract Sciences. Her song "Come Mighty Must" was a real show-stopper. She is a most unpleasant character who wants to take control of the university.

We also enjoyed soprano Mary Langston as Lady Psyche, Professor of Humanities, and Melissa Serluco whose character falls in love with Florian, just as Lady Psyche falls for Cyril.  There is plenty of lyric romanticism along with the funny patter and it was difficult to keep a straight face.

The best part of the performance was that every role was well cast and the entire cast seemed to be having major fun.  Although the level of artistry was professional all around, the enthusiasm and involvement made us think of a school or camp performance. And we mean that in the best possible way.

Mr. Remmers conducted his chamber orchestra and wardrobe was attributed to Eric Lamp and Angel Betancourt. There was no scenery and none was needed.  The evening was all about performance.

If you cannot make today's 3:00 matinée, you will have two chances next weekend. It would be a sad thing, a VERY sad thing to miss this rarely produced operetta.

(c) meche kroop