ORCHESTRA OF ST. LUKE'S AT CARNEGIE HALL

Krista Bennion Feeney, Ying Fang, and Maestro Bernard Labadie

As a long time worshipful fan of soprano Ying Fang, there was no way we were going to miss her performance with the Orchestra of St. Luke's. To discuss her performance of Mozart's concert aria "Non temer, amato bene" without putting it in the context of such a wonderful program would be rather monomaniacal.

Unlike programs that try to put in something for everyone, last night's program at Carnegie Hall stayed firmly in the 18th c., giving us plenty to think about in terms of how the compositional line evolved from Haydn to Mozart to Beethoven. We realized that the line between Classical music and Romantic music was not all that strict and Haydn could actually be thought of as proto-Romantic.

The overture to his 1779 opera L'isola disabitata which opened the program was filled with dramatic shifts in dynamics, tempo and mood. The opera is rarely performed but the overture makes a fine curtain raiser.

His 1772 Symphony No. 45 in the unusual key of F# minor seemed a departure from what we think of as Classical; it is filled with tempestuous moments and a depth of feeling that is somewhat foreign to the period of The Enlightenment with its rationality and symmetry.

The reason it is called "the Farewell symphony" is related to its origins. Anyone who didn't know the story might have been shocked to observe the musicians packing up and walking out, one by one, during the final movement. Even Maestro Labadie abandoned his podium until only two violinists remained to end the symphony on a quiet note.

The origin of this amusing device had to do with Haydn sending a musical message to his employer Prince Nicholas I who expected the musicians to stay on the Esterházy estate and delay their winter vacation to suit his whims. The musicians asked Haydn for some help and his response was to come up with this crazy idea for a symphony. Apparently, Prince Nicholas got the point and let the musicians depart. We had a lot of fun contemplating some present day employment situations that could be handled with such tact and humor!

The young Mozart composed his opera Idomeneo not long after but added the Rondo aria "Non temer, amato bene", sung by Idamante to the captured Princess Ilia, in 1786. The music begins with a simple but affecting melody but grows in power with each iteration. There are long and lovely legato lines giving Ms. Fang an opportunity to sing melismas of astonishing beauty. And there is anger at fate, offering opportunities for vocal fireworks. This would seem to be analogous to a cabaletta. Concertmaster Krista Bennion Feeney provided the violin obbligato. It was a stunning duet.

Shortly thereafter, Beethoven composed his Piano Concerto #2 in B-flat Major;  one could hear the influences of Haydn and Mozart while acknowledging Beethoven's special flair for the dramatic. We could not imagine a better performance than the one we heard by Beethoven specialist Jonathan Biss. The work opens with some downward moving arpeggi and a graceful second theme which set the mood for the entrance of the piano. 

Mr. Biss' nimble fingers flew over the keys and his performance was especially riveting when the orchestra fell silent whilst he tore into Beethoven's music. There were other surprises and the Allegro movement ended abruptly. We are not even sure we heard a recapitulation of the opening themes. We also missed the musical "joke" of the piano making an entrance in an "off" key. We would need further study to truly appreciate those subtleties. However no one could miss the shifts into the minor key, a device we always enjoyed in Mozart's operas.

It was a splendid evening and we have nothing but admiration for Maestro Labadie's conducting. He eschews the baton and uses his hands most expressively, eliciting gorgeous performances from his musicians. Bravi tutti!

(c) meche kroop

COUNTERTENOR JAKUB JÓZEF ORLIŃSKY- IL MIO DILETTO

Aisslinn Nosky, Alexander Woods, Jakub Józef Orliński, Kyle Miller, Avi Stein, Ezra Seltzer, and Wen Yang

The thrill for us last night at Weill Recital Hall of Carnegie Hall lay not so much with the material but rather with the performance. Jakub Józef Orliński is one of those rare singers who could entrance us by singing the phonebook. We still recall his brilliant performance as the lead in Jonathan Dove's Flight which resulted in our opening up to contemporary opera.

Last night's program of sacred music would never have been our choice.  And yet.  And yet we found ourselves in rapt attention for two hours, our attention never wandering from the glorious sound of the countertenor's instrument, a sound we will focus on trying to describe for those of you who were not fortunate enough to secure a ticket for the oversold concert.

The tone is crystal clear and even throughout the register without any disconcerting breaks. It is brilliant and focused at the top, opening like a flower. At the lower register, it is substantial and more resonant than one would expect of this fach.

His technique is flawless. We paid quite a bit of attention to his embouchure which resulted in what amounted to a lesson. The capacious opening for the "ah" sound,  the pursing of the lips for the "oo" sound, the compactness for producing the "ee" sound without spreading, everything was perfect.

The breath control for producing the extravagant embellishments of the vocal line led to a marked precision in the volley of notes--something like a string of matched pearls.

The variety of colors produced a kind of chiaroscuro word painting that, combined with exquisite dynamic variation avoided the kind of tedium that we've often experienced with this type of music. Each work became a mini-drama, each one focused on a different aspect of the crucifixion of Jesus.

All the works on the program were composed around the turn of the 18th c. and the first half of it and suggested the high degree of innovation occurring in the Baroque period.

The opening piece was Antonio Vivaldi's Stabat Mater in F Minor. sung of course in Latin. Latin seems to have the same gorgeous vowels as Italian, the taste of which Mr. Orliński seemed to relish. What was different were a few endings "am","em", "et", "is",  and "um". Not a consonant was cheated. The legato produced a stream of sound that seemed to flow without end. The melismatic passages seemed to take flight. The dark tone of the work yielded to an exuberant "Amen" at the end

Nicola Fago's "Tam non splendet" was a more cheerful piece with lavish coloratura, especially in the ritornello. The third section was filled with tenderness with an exuberant "Alleluja" at the conclusion. The singer's vocal fireworks were echoed by the first violin.

The entire program, except for one short piece which was given its world premiere--(Gaetano Maria Shiassi's "A che si serbano" from Maria Vergine al Calvario) can be heard on Mr. Orliński's newly released CD Anima Sacra, comprising rediscovered 18th c. sacred arias and recorded with the Baroque ensemble Il Pomo d'Oro. 

In Schiassi's "L'agnelletta timidetta" from the same work, Mr. Stein accompanied on the organ. Both of Schiassi's pieces were sung in Italian.

Last night's program was accompanied by members of New York Baroque Incorporated-- violinists Aisslinn Nosky and Aleander Woods, violist Kyle Miller, cellist Ezra Seltzer, violonist Wen Yang, and harpsichordist Avi Stein who also played the organ. One could not have asked for a better setting for this jewel of a singer. There were times when Ms. Nosky's line followed the singer's or wove in and out--times of unutterable beauty.

There were three instrumental interludes; the first was the Trio Sonata in D Major by Arcangelo Corelli performed by the two violins, the cello, and the harpsichord. The second and third were portions of Franceso Durante's Concerto for Strings in G Minor. We have no idea why the work was broken up in such fashion and would have preferred to have heard it intact.

Mr. Orliński's artistry is equalled by his charming stage presence. He is at that stage in his professional career in which his overwhelming success on the world's stages has not yet been taken for granted. His enthusiasm for his music is absolutely contagious and we felt the audience take him into their collective heart. The standing ovation was well deserved.

The capstone for this glorious evening was his second encore--"Vedro con mio diletto" from Vivaldi's Il Giustino. We have lost count of the number of times we have listened to his performance online; to hear him perform it in person was astonishing. There is a simplicity and a virility that made it more enjoyable than that of Philippe Jaroussky which we like also but which struck us as a bit excessive in its ornamentation of the ritornello and also lacking in the warmth given to it by Mr. Orliński. It is interesting that the video we saw of Mr. Jaroussky was made about 10 years ago, just when Mr. Orliński began his vocal studies!

Dear reader, please listen to both videos on You Tube and let us know what you think!

(c) meche kroop

UNCOMPROMISING ARTISTRY

Julia Bullock and John Arida onstage at Weill Recital Hall

There is an air of devoutness about soprano Julia Bullock!  There is such devotion to her art and to whatever she chooses to put on her program that she inspires devotion in her audience. Weill Recital Hall at Carnegie Hall was not nearly large enough to hold the legions of her fans; but her artistry is so intimate that the hall is a perfect fit! Perhaps she should have been given a second night to accommodate everyone that clamored to hear her. We feel a sense of privilege to have been there.

We have been writing about Ms. Bullock since we began this blog. However, she first came to our attention when Lachlan Glen presented his year-long Schubertiade, employing the services of his fellow students at Juilliard. Sadly, the website for which we wrote is no longer extant and we cannot access those reviews.

But for the past 6 years, Ms. Bullock has had our admiration in a number of operatic roles (Cendrillon and Vixen Sharp-Ears are best remembered), at New York Festival of Song, in solo recitals, in Juilliard liederabende, at a Juilliard Vocal Arts Honor Recital, at a Young Concert Artists recital, and a Carnegie Hall Neighborhood Concert. Did we miss anything? Oh yes, a master class with Eric Owens.

Let us take a closer look at the reasons for our consistent admiration. Ms. Bullock is blessed with a gorgeous instrument which has darkened and expanded with time. We heard some impressive tone at the lower end of the register in the last set of songs on the program.

But there is so much more to her artistry. She does occasionally repeat a song from one recital to the next but mostly she tackles new material. She translates the songs herself and there is never any doubt that she is immersed in the text.  We have no doubt that she is visualizing what is in the text and we see it through her eyes.

Her programming is highly personal and a bit idiosyncratic. We go where she leads and take pleasure in the novelty. She began the program with four lovely Schubert songs which reminded us of our first exposure to her artistry in a church on the Upper East Side, at the Schubertiade we mentioned above.

Ms. Bullock clearly expresses her feminism and anti-racism. The opening song "Suleika I" was written not by Goethe, as she pointed out, but by his lover Marianne von Willemer. Accompanied by the superb collaborative pianist John Arida, we could feel the breeze created by rippling piano figures. The last verse was repeated twice, deeply felt, and differentially colored each time.

Friedrich Rückert's charming text for "Lachen und Weinen" provided opportunities for major-minor shifts. The confused adolescent mood was sustained through the piano postlude. Goethe's text for "Wandrers Nachtlied II" held us in a peaceful place.

The strophic "Seligkeit" was written by Ludwig Christoph Heinrich Hölty, a man of the cloth who abdicated for a life of poetry. In this song we hear a tribute to earthly bliss.

Dear readers, were you waiting for me to complain about Samuel Barber's Hermit Songs?  You will be surprised to learn that we actually enjoyed them. Props to any singer who can show us what there is to appreciate about a  previously disparaged work of art. It's something like sitting down with a person you thought little of and learning that they have a lot to offer!

So what helped us turn that particular corner?  We suppose it was that Ms. Bullock's aforementioned devoutness gave us insight into people who choose a life of devoutness and monasticism. Her intense involvement with the songs was matched with superlative English diction such that we understood every word. In "Saint Ita's Vision" we saw in our mind's eye the woman clasping the baby Jesus to her breast!

The good cheer of "The Heavenly Banquet" gave way to the grief of "The Crucifixion".  But our favorite was and always will be, "The Monk and His Cat" which struck us as a great recipe for a good relationship--alone together, each with his own work, neither hindering the other, without tedium or envy.

Focusing on feminism, Ms. Bullock chose selections from a late work by Gabriel Fauré--La chanson d'Ève. She spent some time explaining the work and its theme of unfolding as the biblical Eve tries to find her place in the world.

There was quietude and simplicity in the piano at first but we heard some lovely rippling figures in "Veilles-tu, ma senteur de soleil".

The last set comprised bluesy and jazzy numbers highlighting the Afro-American experience, and especially that of women. Ms. Bullock took pains to tell us when the female member of the composing team had been neglected, like Pat Castleton, the wife of the credited composer Spencer Williams, for the song "Driftin' Tide". It was here that we began to appreciate the artist's strength at the lower end of the register.

Maceo Pinkard's "You Can't Tell the Difference After Dark" was written for Alberta Hunter. Sometimes humor can be a good method of confronting prejudice.  We also heard "Downhearted Blues" made famous by Bessie Smith, and "Our Love is Different" by Billie Holliday.

Two Nina Simone songs made an appearance. "Revolution", in an arrangement by Ms. Bullock herself, was sung a capella and ended in a stunning vocalise. Using a prepared piano, Mr. Arida accompanied Ms. Bullock in the very upsetting "Four Women", utilizing a repetitive and insistent motif.

As encores, we heard Connie Converse's "One by One" and finally, to make sure the audience left in a cheerful mood, Josephine Baker's "La Conga Blioti" which was so well done that we speculated on Ms. Bullock doing a one-woman show about Ms. Baker.

What an incredible evening!

(c) meche kroop

CANDIDE-LY SPEAKING

The cast of Leonard Bernstein's Candide onstage at Carnegie Hall

In celebration of the Bernstein Centennial, Carnegie Hall presented a one-night benefit performance of Candide, with Rob Fisher conducting the huge orchestral forces of the Orchestra of St. Luke's, and the enormous Mansfield University Concert Choir, all onstage.

Let us avoid any discussion of whether this charming work is an opera or a musical comedy. No matter how many times we have seen the work, nor in whatever venue, we have always enjoyed it and walked out humming numbers from Bernstein's tuneful score. 

The work is an enduring one, and an endearing one, and its arias have appeared on countless recitals, especially "Glitter and Be Gay", a favorite of coloratura sopranos. The work seems to be critic-proof and, in spite of it's initial cool reception, continues to appear in various iterations, each worthy on its own terms.

The concert version we saw last night at Carnegie Hall was new to us, since our prior experiences have been with the Harold Prince version. This one was Bernstein's final intention, realized and recorded shortly before his death in 1989. What a thrill to hear songs we hadn't heard before and to see scenes we hadn't previously seen. We are reminded that opera composers of the 19th c. also revised their operas many times such that a definitive performing version can be negotiable.

Not only do we love the music but we adore the book by Hugh Wheeler, which touches upon so many serious themes, beneath a comic facade.
In this story of innocence betrayed and reality accepted, we are exposed to countless trials and tribulations; we witness the heroes of the story pursuing their ideals and surviving their hardships. Perhaps this is one of the reasons that the public has such affection for the work.

The literary work upon which it is based is Voltaire's 1759 novella, a satiric attack on war, religious persecution, and the positivist philosophy of Gottfried Wilhelm Leibniz who claimed that whatever happens in this world is divinely ordered and for the best.

What we didn't know was that one of the episodes is based upon true events. In Lisbon, the horrendous death toll of an earthquake resulted in religious persecutions meant to "appease God". Well!  If that doesn't sound like some contemporary stuff going on in the Middle East we will eat the score for breakfast!

If anyone doesn't know the story, it involves the picaresque adventures of an innocent youth named Candide and his beloved Cousin Cunegonde who were tutored by one Dr. Pangloss, a stand-in for Leibniz. The two survive the horrors of war, shipwrecks, deceits and betrayals, as well as the aforementioned auto-da-fe;  they get continually separated and reunited more than once until at the end they decide to have a quiet life with modest pleasures.

One couldn't ask for a better Candide than tenor Paul Appleby, about whom we have written since his student days at Juilliard. No opera or concert appearance or award gala performance has failed to impress us artistically or to touch us emotionally. With the ensuing years he has grow as an artist but has not lost the sweet freshness of his tenor. Once again, last night, he touched our heart as his innocence kept him afloat from one disaster to the next.

He was particularly memorable in his ballads "Life is Happiness Indeed" and in his lament in Scene 2. His duet with Cunegonde "You Were Dead, You Know" was a knockout.

As Cunegonde, the brilliant soprano Erin Morley, another favorite of ours, turned in a landmark performance. Repeated hearings has never dulled the sharp character delineation created in "Glitter and Be Gay" which shows Cunegonde's ambivalence about her stint in a brothel, being patronized on alternate days by an Archbishop (Len Cariou) and Don Issachar the Jew (Danny Burstein)--a scene that drove the audience wild. 

The poor girl laments the loss of her honor but revels in the pleasures of the jewels showered upon her. We think of Marguerite's "Jewel Song" in Gounod's Faust. Another highlight of the evening was her duet with Patricia Racette-- "We Are Women", a number we had not heard before.

It was difficult to imagine Patricia Racette in the role of The Old Woman because she is far too young and attractive. Nonetheless, she employed a "high Middle Polish" accent and appropriate gestures that made her performance convincing. Her version of "I Am Easily Assimilated" always tickles us.

Making a brief appearance in a wheelchair was legendary mezzo-soprano Marilyn Horne in a speaking role as the Queen of Eldorado. We loved her line--"We have no lawyers or courts here; no one is angry."

In a bit of luxury casting we heard William Burden's fine tenor as the lustful Governor of Buenos Aires. Glenn Seven Allen, Kyle Pfortmiller, and Ross Benoliel made a fine trio in "Auto-da-fe".

Other roles were assumed by Broadway stars. John Lithgow made a convincing Dr. Pangloss and also narrated as Voltaire himself. His singing is about as good as Rex Harrison's was in My Fair Lady. Ryan Silverman portrayed Cunegonde's vain brother Maximilian and appeared later as the Grand Inquisitor and a Jesuit.

Paquette was performed by Bryonha Marie Parham who sang in several ensembles. Her character did not have the same stage time as in the Hal Prince version.  The Baron and Baroness were also cut, as were the singing sheep in the Eldorado scene.

If we were to name all the numbers that delighted us we would surely run out of space but we absolutely must mention the delightful "What's the Use" which takes place in the casino in Venice. We can't stop humming it!

Although it was a concert version, taking place on a shallow area in front of the orchestra, there was enough action to hold our attention.  Director Gary Griffin did a fine job on this account.  Costumes by Tracy Christensen were quite wonderful. 

In place of sets we had projections designed by Wendall K. Harrington and they were superb. All of the locales in the show were represented above the heads of the choristers and some of them had moving figures. For example, when the characters were at sea, we saw maps of the Atlantic Ocean with images of a several-masted schooner tacking back and forth! Each scene was suitably accompanied by these visuals and the audience loved them.

If there were one flaw in the evening, and of course there would have to be "in this best of all possible worlds", it would be the sound design. The lyrics to the songs are so clever that it was a shame to miss so much of them. Of all the singers, Mr. Appleby's words came across the best. We are not sure what kind of amplification was used but it was far from satisfactory. Since there were several songs that were new to us, we will have to look for the lyrics online.

(c) meche kroop

EROS AND THANATOS AT CARNEGIE HALL

Boston Symphony Orchestra in concert version of Tristan und Isolde (Act II) at Carnegie Hall

We went to hear tenor Jonas Kaufmann's Tristan but we left with so much more. Without the distractions of a meretricious concept production at the Metropolitan Opera last season (one which we fled during the first intermission), we were able to focus on Richard Wagner's transporting music. Under the precise and expressive baton of Maestro Andris Nelson, the enormous forces of the Boston Symphony Orchestra paid tribute to Wagner's music with its intense emotional impact.

We were perfectly content with Mr. Kaufmann's vocal artistry and dark coloration. As Isolde, Finnish soprano Camilla Nylund was right up there with him. The voice of Japanese mezzo-soprano Mihoko Fujimura as Brangäne sailed right through the dense orchestration as she begged Isolde to pay attention to the risk of discovery. As King Marke, German bass Georg Zeppenfeld broke our heart with his deeply felt aria, expressing the pain of betrayal he experienced.

Since this was a concert version of only Act II, we were deprived of the introduction to the story and also of any physical contact between the two ill fated lovers. There wasn't even any eye contact to rely upon so that the feelings had to come almost entirely through the music. And this led to our appreciation of the work in a new way.

Even the off-stage horns at the beginning of the act fostered our imagination, creating the nighttime hunt arranged by Melot to get King Marke out of the castle. We hear what the realist Brangäne hears and understand that Isolde is in the grip of delusion, based upon denial. Not only does Isolde not hear the horns but she denies Melot's jealousy and danger to her.

The two lovers are so infatuated that there is a reversal of the normal pattern of perceiving daylight as real and positive, with nighttime as dangerous. These lovers reject the reality of day and worship darkness where their illicit love becomes real.

There is also a reversal of what people normally experience; great happiness makes us cherish life and fight against death; these lovers are so ill-starred that they can only see happiness in death. All this Wagner created in his adventuresome unresolved harmonics and astute orchestration. We get caught up in their rapture.

When the lovers speak of death the orchestra becomes peaceful and we hear the apposite sound of the harp, beautifully played by Jessica Zhou. The bass clarinet is used effectively with its mournful tones.

The music has been called " emotionally manipulative" but isn't that what music is supposed to do? It was something happening in the orchestra and in Mr. Zeppenfeld's performance that shifted our sympathies from the deluded couple to that of the betrayed husband who is led to the scene of the assignation by the snitch Melot (Welsh tenor Andrew Rees).

Wagner was by all accounts a rascal. He seemed to enjoy seducing other men's wives. He abandoned his wife Minna and focused his romantic intentions upon Mathilde, the wife of his benefactor Otto Wesendonck. This would seem to parallel the triangle in Tristan und Isolde, in which Tristan pursues Isolde, the wife of his adoptive father King Marke. Is it only chance that he chose this medieval story to set to such erotic music?  Shortly thereafter he impregnated Cosima, the wife of Maestro Hans von Bülow. Perhaps rascal is too kind a term.

The love potion (liebestrank) is just an excuse.  "The devil made me do it!" Film, music, and literature are filled with similar stories.  Just think of "Love Potion Number 9", and L'Elisir d'Amore. We are flawed human beings and often out of control of our desires and eager to place the blame elsewhere.  But that ill wind has blown us some good in a work of incomparable beauty, cherished by music lovers worldwide. Last night's performance was definitely one to cherish.

(c) meche kroop

DAME FELICITY LOTT MASTER CLASS

Erin Alcorn and Dame Felicity Lott

The final master class of The Song Continues 2017, formerly known as Marilyn Horne's Birthday Week, was conducted at Carnegie Hall in the Education Wing, by the much honored soprano Dame Felicity Lott who wowed the audience with her very British sense of humor. Her style of teaching was completely different from the prior two master teachers. She was generous in her praise of the four young singers we heard (we shared her opinion) but very nit-picky about the text, teaching with the score in hand.  Her command of languages is as formidable as her command of musicianship.

Her first student was soprano Erin Alcorn, accompanied by Katelan Terrell.  Ms. Alcorn's first selection was Richard Strauss' Standchen, the one we know and love well.  A man tries to persuade his sweetheart to sneak out of the house to meet him in the garden for some passionate kissing. Ms. Alcorn used her brilliant voice brilliantly and performed with ardent expression. It was a persuasive performance.

Dame Felicity's suggestions were to keep the tempo up so that the energy would not flag. Both piano and voice need to be light.  There were a few words that Dame Lott wanted Ms. Alcorn to enjoy-- "zittert" is one we could really appreciate. The second "mach auf" needed to be more intense than the first. A change of color was needed for the final verse of von Schack's text; it must not lose intensity but should be still and legato.  And the "hoch gluhn" at the end must be very passionate with a glorious end on "Wonnenschauern der Nacht".  What a gorgeous phrase that is and Ms. Alcorn sang it gorgeously.

Although her instrument is clearly made for Strauss, she did a fine job with Debussy's "Vert" from Ariettes oubliees. There was some urging to get her French more forward in the mask and the need to change color from the offering of vegetation to the offering of the poet's heart.  Indeed! There were phrases to stretch and phrases to build up and relax.

Mezzo-soprano Marjorie Maltais also had the opportunity to perform two songs. She sang "Danse macabre" by Camille Saint-Saens with its difficult text by Henri Cazalis. The composer did an excellent job of applying music to the very wordy text and conveying the spooky mood. Mezzo Marjorie handled it beautifully, creating a mood of grotesquerie. 

Nathan Raskin handled the wild piano part quite well but was instructed to hold back the sound whilst Mezzo Marjorie was singing so that the text could be understood.  Both artists should expand the final "Oh! La belle nuit".

By the end of the song, Ms. Maltais was warmed up enough to tackle Richard Wagner's "Traume" from Wesendonck Lieder.   The coaching was to be ecstatic, not sad. Those thoughts would surely change the color! The singer must draw the audience into this world of dreams!  And, must do it with the voice, not gestures. Mr. Raskin was coached to play more ethereally and this made a world of distance as he complied.

Tenor Patrick Shelton sang "Let me enjoy the earth" by Gerald Finzi, with a text by Thomas Hardy. He was advised to avoid meaningless movement and to color his voice with wistfulness, not sorrow. In our opinion, Mr. Hardy's splendid poetry did not ask for music and we didn't find that Mr. Finzi'a music did much for the poetry. But Madeline Slettedahl played it well.

We enjoyed Mr. Shelton's singing more in Liszt's "Comment, disaient-ils". We do believe that Victor Hugo did not want to have his poetry set and yet, to our ears, Liszt's music added a great deal!  Dame Lott worked with Mr. Shelton on some finer points of French diction, particularly on softening the elided "t" in the oft-repeated phrase of the title. She worked also on rhythm and on changing the colors from "ramez" to "dormez" to "aimez"--all great improvements.

Soprano Anne Wright closed the class with a pair of songs that showed off her versatility as well as her impressive instrument. Henri Duparc's gem "L'invitation au voyage" is a setting of a gorgeously sensual text by Baudelaire. Significantly, we could understand nearly every word of Ms. Wright's French, even at the top of her register. The knowledge that she translated both songs herself reinforces our impression that she understood every word she was singing.

Nonetheless, Dame Felicity was there to iron out some small issues with French diction, and some suggestions about where to breathe. She wanted Ms. Wright to enjoy the text (we sure did!) and the changes of color in "luxe, calme et volupte". The singer must not demonstrate but must invite the audience in.  (Where have we heard that before??) Zalman Kelber's handling of the rippling piano completed the effect.

In Strauss' "Cacilie" from Vier Lieder, Ms. Wright conveyed all the intense passion and ecstasy of Heinrich Hart's text. What a splendid evening, discovering four fine singers and two very promising Straussians.

(c) meche kroop

MARGO GARRETT MASTER CLASS AT CARNEGIE HALL

Margo Garrett, Madeline Skettedahl, and Dorothy Gal

Last night, the second of three master classes was held with esteemed collaborative pianist Margo Garrett providing invaluable instruction to singer and pianist alike. The master classes, if you didn't already know, are part of The Song Continues 2017 at Carnegie Hall, a series of events through which Marilyn Horne does everything humanly possible to advance the art of the song recital.  Young singers and collaborative pianists get an opportunity to perform for a standing room only crowd of lieder lovers and to receive advanced instruction that will take them to the next level.

Last night we heard tenor Ricardo "Ricky" Garcia tackle the very difficult Schubert setting of Goethe's text "Erlkonig". What makes the song difficult is that the singer must assume several voices--that of the narrator, that of the father, that of his child, and that of the evil Erl King. Much of the momentum of the father's mad ride is supplied by the piano-- in this case, by Nathan Raskin. Ms.Garrett pointed out that the Germans love stories, especially supernatural ones!

We sensed that Mr. Garcia wanted to convey the different voices but was not totally successful, except for his appropriately colored baritonal father.  After some coaching, he was able to make the narrator less passionate and more even. The child needed a lighter but frightened sound, while the Erl King needed a measure of seductiveness. The father needed to be more tender and legato.

An interesting method of practicing this was given--the singer can sing all the lines of one of the characters in succession in order to master the build up of intensity for that particular character.  After establishing the vocal arc of each particular character, then the entire piece can be put together. This makes perfect sense and is a point we will be thinking of every time we hear a song with more than one voice.

It was a lovely dramatic experience to hear soprano Caitleen Kahn perform a satirical and allegorical song by Dmitri Shostakovich entitled "Misunderstanding".  It was the story of a rake who mistakes a woman's recitation of erotic poetry for an invitation to intimacy. Ms. Kahn is a born storyteller and had a very clear understanding of the background of the song's composition and the text as well.

She was coached to use her voice and face as well as gestures to convey the sense. Pianist Zalman Kelber got some valuable tips about achieving a less obvious doubling of the vocal line. An equally valuable tip for the singer was to practice singing into the piano (with the lid raised high, of course) with the piano playing octaves above and below. These are the "pearls" that only a master of coaching would know!

Bass-baritone Ted Pickell performed "Wenn ich mit Menschen und mit Engelszungen redete" from Brahm's Vier ernste Gesange, accompanied by Katelan Terrell. Mr. Pickell has a marvelous instrument to work with but needed coaching in putting some feeling into the text. Ms. Garrett suggested that he focus on the loving feelings. We were not feelin' it! To us it just sounded like preaching, which, of course, it is--Paul preaching to the Corinthians.

Ms. Terrell needed to lighten up on the keys and Mr. Pickell needed more color, more contrast between verses, and more attention paid to the consonants, particularly the double ones.

The evening ended with soprano Dorothy Gal, whom we have heard and enjoyed in French and Italian songs. She sang Hugo Wolf's "Geh, Geliebter, geh jetzt!" in which a woman urges her beloved to leave before he is discovered.  Clearly she doesn't want him to leave! The song is notoriously difficult with its syncopated rhythms and off-kilter entrances for the singer. This gave Ms. Garrett an opportunity to bring up a most interesting concept.

This is the issue of whether the pianist leads the singer or vice versa. In this case, the pianist must be led by the singer's entrances. Collaborative pianist Madeline Sletterdahl was instructed to emphasize the left hand over the right one.

Ms. Gal was given advice to be clearer with the consonants. We had a piece of advice for her ourself. We would like her to complement her lovely voice with some meaningful gestures. She seemed not to know what to do with her arms and hands and the gestures that were made seemed not to connect with the text. That addition would make her performance perfect.

There will be one more master class tonight--Dame Felicity Lott. We will be there with thirsty ears!

(c) meche kroop

WAR AND PEACE BY JOYCE

Joyce DiDonato with Il Pomo d'Oro   (photo by Chris Lee)

We like concert programs with a theme and we liked the theme chosen by mezzo-soprano Joyce DiDonato for her recital at Carnegie Hall. The first half of the program was dedicated to War with the second half dedicated to Peace. Ms. DiDonato is not just an artist of consummate musicality, and not just a glamorous superstar, but also a special person with humanitarian values. Her concept for the evening, of which she was Executive Producer, was the achievement of harmony through music. She herself wrote a moving essay for the program book.

The program, directed by Ralf Pleger, (who directed Ms. DiDonato in the documentary film The Florence Foster Jenkins Story) was designed to take us on a journey from darkness to light, from chaos to order, from anger to joy. If our joyful and peaceful mood at the end of the concert was any indication,  she achieved her goal. We hope others felt the same but our companion shared our view that she was "preaching to the converted". We can think of several people who needed this journey and weren't there!   Nevertheless, it made for a compelling evening.

Accompanying Ms. DiDonato was a group of musicians whose artistry matched her own. This was our first time hearing Il Pomo d"Oro and we hope it won't be our last. The group was led by conductor and harpsichordist Maxim Emelyanychev; he is young but confident and effective. Comprising the group were a string section, joined by a trio of flutists, an oboe, a bassoon, an archlute, and a viola da gamba. Anna Fusek, a violinist, played a sopranino recorder with such outstanding skill that she took our breath away.

The occasion for this unforgettable solo happened to be our favorite piece on the program--"Angelletti che cantata" from Handel's Rinaldo--the scene in which Almirena sings of her love for the eponymous hero. The virtuoso playing of the recorder sounded to us like a chorus of nightingales.

Another aria from Rinaldo--"Lascio ch'io pianga"--expressed another aspect of Almirena's character, her sadness in captivity. Ms. DiDonato colored her voice so differently that we wished we might have heard the two arias backo-to-back but they were in different sections.  She sang this melancholy melody to great effect.

One might think that we favor the works with which we are familiar, but we also greatly enjoyed two works we'd never heard; it was Ms. DiDonato's scholarship that unearthed two forgotten 18th c. operas by two Neapolitan composers. Leonardo Leo wrote L"Andromaca in 1742, based on the tragedy by Racine about Hector's widow, slain in the Trojan War by Achilles.  "Prendi quel ferro, o barbaro" had a fast angry section followed by a lyrical sad section and Ms. DiDonato made excellent use of variations in color and dynamics.

Leo's student Niccolo Jommelli wrote Attilio Regolo in 1753, a setting of a text by Metastasio. We heard Ms. DiDonato's expression of pure joy in Attilia's aria in which she welcomes her father--"Par che di giubilo"--and welcomes him with incredibly expressive fioritura, at which this singer is a master.

There were a couple other arias by Handel and Purcell and a piece by Arvo Part that fit right in but, for our taste, nothing equalled the above-mentioned works.  However, one thing surpassed them.  That was the encore--"Morgen" by Richard Strauss, which was taken at a slow tempo and delivered pianissimo with intense feeling.  We are not likely to hear it sung that well again; we heard it differently, as a song of hope and promise.

We suppose we are obliged to say something about the other elements of the evening. Ms. DiDonato's gowns were gorgeous and she wore them well.  Her bare feet were barely visible but we wondered if that was why her singing was so "grounded". The face and neck paint seemed unnecessary.

For our taste, the video projections by Yousef Iskandar were distracting and added nothing to our pleasure. We did not like Henning Blum's lighting at all.  For much of the time, banks of lights aimed at the audience were blindingly bright.

As far as the choreography and dancing by Manuel Palazzo, it seemed superfluous. He has an attractive chest and wore his floor length skirt well but the movements were the same old post-Martha Graham tropes that have been boring us at modern dance recitals for years. He did not have much to do but occasional writhing and twirling and an interaction with Ms. DiDonato's cape.

We will take our singing "neat"!

(c) meche kroop

FROM MIGNON TO MIGNON

Christiane Karg and Malcolm Martineau

Superb German soprano Christiane Karg made her New York recital debut last night at the Weill Recital Hall of Carnegie Hall; she took the stage with perfect poise and carried the enthusiastic audience on a journey through Europe starting and ending with two settings of the story of the mysterious Mignon, a character in Goethe's Wilhelm Meister's Lehrjahre.

This tale has inspired numerous composers.  Our journey began with "Kennst du das Land", the familiar version by Hugo Wolf, and ended with the somewhat less familiar "Romance de Mignon" by Henri Duparc.

And what a journey that was!  Ms. Karg is a wonderful guide and storyteller. Although there is nothing unusual about her instrument, it is a pleasing one; what astonished us is the way she employs it to squeeze every drop of meaning from each word and phrase. She seems to be tasting every word!

Such intense involvement with the text is exactly what makes a fine lieder recital. It seems to invite the audience to share the singer's experience. And we felt that involvement from the very first phrase. The trick is to make the performance seem, no matter how rehearsed, to be created spontaneously at that moment.

What a pleasure to hear Wolf's intricate songs flowing forth so effortlessly from a native speaker of German. Although the opener was our hands-down favorite, we loved the selections she chose from the Italienisches Liederbuch. There was the sad song of leave-taking "Mir ward gesagt", the frustrated maiden's "Mein Liebster singt am Haus", the ironic "Ich liese mir sagen", and the humorous "Mein Liebster ist so klein" and "Ich hab in Penna einen Liebsten wohnen".

No less pleasurable were the selections from Wolf's Spanisches Liederbuch. We particularly enjoyed the tender "In dem Schatten meiner Locken" in which the singer allows her lover to sleep, disdaining to wake him.

We do so love to be introduced to composers and songs that were unknown to us. Jesús Guridi composed his Seis canciónes castellanas in the early 20th c. and we hope we get to hear them again in the near future.  We do so love folk songs!  Our favorite, "Sereno!" had the most gorgeous melody and one would search far and wide to hear a more romantic song than "Como quieres que adivine".

The second half of the program was entirely in French, and sung with quite nice French diction. We were delighted to hear the familiar gem by Henri Duparc "L'invitation au voyage" sung with such sensuality.

Ms. Karg took no breaks for applause and launched right into Ravel's "Cinq mélodies populaires grecques"--a collection of charming folk songs that cover all the emotional bases. The romantic "Chanson de la mariée", the arrogant "Quel galant m'est comparable", the lively "Tout gai!"--all were performed with panache.

Malcolm Martineau's always wonderful piano partnership here became appropriately delicate.

There were two sets of songs that we'd never heard.  We know Reynaldo Hahn as the composer of very singable melodies that echo much earlier music. We'd never heard "Études latines" but did not care for the classical texts all that much.

There was also a trio of Charles Koechlin songs from his Op.56 and Op.84 which did not resonate with us as much as the rest of the program.

With a quartet of songs by Francis Poulenc we were back in more familiar territory; they were all settings of texts by Apollinaire and filled with irony, which Ms. Karg brought out splendidly.

The final song, the aforementioned "Romance de Mignon" sounded far more passionate than any Duparc songs we've ever heard.  The text for this one was written by Victor Wilder and it was quite lovely.

Ms. Karg and Mr. Martineau generously provided three encores which Ms. Karg fortunately announced clearly.  Might we add that her English is superb!

The first was Hahn's "A Chloris" which is the Hahn we know and love. The second was Barber's "Solitary Hotel", the setting of a text by James Joyce. And the final one, "Nana", a lullabye by Manuel de Falla, reminds us to mention the excellent Spanish with which Ms. Karg performed the Guridi songs.

Ms. Karg has some exciting opera appearances coming up. She is someone to watch, for sure!

(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

CHILLS AND THRILLS AT CARNEGIE HALL

Önay Köse, James Edgar Knight, Joshua Gersen, Avery Amereau, and Raquel González

As if Beethoven's Ninth Symphony were not sufficiently thrilling, we got to witness the Carnegie Hall debuts of four of our favorite Juilliard graduates who took on the roles of soloists in the famous fourth movement--The Ode to Joy.  What a joyful afternoon it was for performers, audience, and for us. 

In the lyrical third movement (Adagio molto e cantabile) a rising fanfare announces the excitement to come. The impressive New York Youth Symphony, which has been performing for over a half century, showed particular strength in the lower strings with dynamic control and clarity of attack.

And then bass Önay Köse took over the bass solo with his booming voice and majestic phrasing. An emotionally penetrating sound was achieved by tenor James Edgar Knight.  The voices of mezzo-soprano Avery Amereau and soprano Raquel González literally sailed over the orchestra.

The New York Choral Society, under the direction of David Hayes, handled the rest with crisp diction and a warm sound perfectly suited to the inspiring text. The entire affair was conducted by Joshua Gerson who was far more intense in his conducting than in a prior work.  It was as if the majesty of the music brought out the best in everyone.  Even the unruly horns were on their best behavior.

This was our second Beethoven symphony this week and we never fail to appreciate the master's sense of structure and inventiveness, not to mention the unity of the movements achieved by motifs running throughout. In this piece however, we always feel as if we are at a splendid meal but somehow aware of the dessert to come--the sweetness of brotherhood and the mood of rejoicing.

The curtain raiser was Rossini's Overture to La Gazza Ladra in which the energetic young conductor Harrison Hollingsworth created quite a riveting figure on the podium with his flowing blond locks and athletic body. The young musicians responded well to his intense style.  A drumroll paved the way for a theme in march rhythm with those unruly horns cracking left and right. Following on its heels a familiar theme in the strings that is quintessential Rossini. A spritely way to begin the afternoon!

The remainder of the first half of the program comprised the première of an interesting piece by the young Molly Joyce entitled Fresh, which was commissioned by the New York Youth Symphony's First Music program.  It stood very well on its own merits except for needing more of a climax. Ms. Joyce wrote in the program that she aimed to have the orchestra take over the rhythm of the percussion section.  This, sadly, we did not hear but that is a small matter since the piece spoke for itself of a budding compositional talent. What we did like was the portentous nature of the theme in the drums and lower strings. 

It was a pleasure not only to see our much admired singers onstage but to hear the fine accomplishments of the New York Youth Symphony. The organization is nationally recognized for orchestral training, conducting, chamber music, jazz and composition--all tuition-free, made possible by scholarships on merit-based auditions. Talented teens need apply.

(c) meche kroop

RÖSCHMANN AND UCHIDA AT CARNEGIE HALL

Mitsuko Uchida and Dorothea Röschmann

Highly celebrated in Europe but too little heard in the United States, soprano Dorothea Röschmann made a welcome appearance at Carnegie Hall last night with equally celebrated Mitsuko Uchida as her collaborative pianist.

The all-German program focused on two song cycles by Robert Schumann, both composed in 1840, during that very productive year when he won the court case permitting him to marry his beloved Clara.

The evening's program began with his Liederkreis, Op.39, a dozen songs of varying moods, one lovelier than the next. Ms. Röschmann's burnished soprano is flawless and focused throughout the registers and her musicianship is undeniable. There is something elegant and tasteful about her manner. One could call it unassuming.

There were times when we wished for more drama in the storytelling, as in "Waldegespräch"; we longed to hear the difference in coloring between the words of the rider and the words of the Loreley. 

Ms. Uchida is a highly sensitive accompanist and often we heard more of the mood of the song in her piano. In "Mondnacht" she made moonlight audible, to our delight. "Auf einer Burg" had the right haunting feeling. The searching atmosphere of several songs was unmistakable and emotionally affecting.

The ending of "Im Walde" was given a chill by both artists who lent their skills to the storytelling.

The storytelling of the final work on the program grew in power. Frauenliebe und leben, Op.42 is one of our favorites and we are always happy to see it on a program. The challenge for the singer is to convince us that she is a young girl still playing games with her sisters who then grows into womanhood during the course of the cycle.

The timbre of Ms. Röschmann's instrument is very suited to melancholy and grief. She was incredibly moving in the final tragic "Nun hast du mir den ersten Schmerz getan" but she was less believable as the excited young girl who falls head over heels in love with a man.

She did inject a dose of excitement into "Ich kann's nicht fassen, nicht glauben" but we wanted to hear a different color when the girl gives voice to the man's words "Ich bin auf ewig dein". We enjoyed the serious tenor of "Du Ring an meinem Finger" as the woman realizes the import of her engagement. Similarly we appreciated the quiet joy as she let her husband know of her pregnancy in "Süsser Freund, du blickest".

In between the two Schumann cycles we heard Alban Berg's Sieben frühe Lieder which we have recently come to appreciate, thanks to a recital two weeks ago by Mary-Jane Lee (review archived). Ms. Röschmann furthered our appreciation, thanks to a sensitive delivery that captured the elusive quality of the songs.

We particularly enjoyed "Die Nachtigall" because of its haunting melody; we got goosebumps when Ms. Röschmann sang the phrase "Die Rosen aufgesprungen". "Im Zimmer" we loved for its atmosphere; the piano did a great job of emulating dancing flames from the little red fire.

It was during the encores that we most enjoyed Ms. Röschmann. She removed some of the restraints and let loose with a shattering performance of Schubert's "Nur wer die sehnsucht kennt" and Stern Auditorium was filled with more emotion and a greater amplitude of sound than was heard all evening. As if this were not enough, it was followed by "Kennst du das Land", set by Hugo Wolf.  One can never go wrong with the Mignonlieder from Goethe's Wilhelm Meisters Lehrjahre!

(c) meche kroop

THE DIVA NEXT DOOR

David Zobel and Joyce DiDonato (photo by Chris Lee)

A glamorous and revered superstar of the opera stage, mezzo-soprano Joyce DiDonato revealed her mettle as a recitalist Tuesday night in Carnegie Hall.  All wrapped up in one woman are the engaging and communicative entertainer and the naturalness of the proverbial girl next store-- from Kansas no less.  With flawless technique and enough expressiveness for two artists, she wowed the audience with a program the theme of which was "A Journey Through Venice".  Accompanied by the excellent David Zobel at the piano, she exhibited a lovely liquid tone and superb phrasing in every selection.  

As a great fan of bel canto, we were thrilled to hear so much beautiful singing on one program. She opened the program with two arias from Antonio Vivaldi's opera Ercole su'l Termodonte, written in 1723 while the composer was in Venice.  "Onde chiare che sussurrate" was gloriously baroque and filled with trills in both piano and vocal line, all executed to perfection.  The text is one of anxious longing on the part of the Princess Ippolita and the rippling stream can be heard in the constant arpeggios in the piano.  The same character sings the aria "Amato ben" and we felt the aching longing when Ms. DiDonato stressed the appoggiatura before the final note. Although the plot is not of the ilk favored by today's fashion, if the other arias are halfway as good, we would love to see/hear the entire opera. 

The use of the microphone for speaking between songs was welcome because we wanted to hear every word Ms. DiDonato had to say as she related anecdotes about each set of songs.  Paul Verlaine's text for Cinq melodies de Venise is so lovely that it has been set by Debussy, Saint Saëns and Sokolov.  But Ms. DiDonato chose the setting by Gabriel Fauré for her program and we were delighted to be hearing it for the first time.  We are always reminded of the Fragonard paintings when we hear the lively slightly satirical "Mandoline". The peaceful quality of "En sourdine" was a lovely contrast.  We found "C'est l'extase" somewhat less languorous than the setting by Debussy but nonetheless quite lovely.

As many times as we have heard Rossini's "La regatta veneziana" we never tire of hearing the three distinct moods of Anzoleta and her feelings for Momolo, her gondolier lover.  She encourages him in the first song; in the second she is cheering him on and we feel her breathless excitement and anxiety; in the third song she is all warm and fuzzy, rewarding her Momolo for his win with kisses and compliments.  Ms. DiDonato made us feel as if we ourselves were watching the race.  Rossini composed this brief cycle in the Venetian dialect as part of his Péchés de vieillesse, long after he stopped writing operas.

In contrast to that cycle from his mature period, we heard an aria from his youthful opera Otello.  While we do no wish to take anything away from Verdi's masterpiece, we would love to see a production of Rossini's Otello, based on the gorgeous "Assisa al piè d'un salice…Deh, calma", known as the Willow Song.  There is a gorgeously melodic introduction by the piano followed by the sorrowful lament of the distracted Desdemona.  Even without an orchestra, the two artists brought the scene to dramatic life.  The piano becomes turbulent when Desdemona gets distracted by her grief and anxiety.

Compared with most 20th c. English composers we would have to grant Michael Head a lot of credit for his ability to write for the voice and to match the vocal line to both text and music.  His Three Songs of Venice were evocative and Ms. DiDonato sang the text with far better diction than that to which we are accustomed.  That quality can make or break a performance in a recital of art songs in which the words are so important.  Ms. DiDonato's artistry in word coloring added to the pleasure.

Still, for melody and singability, we must give the prize to Reynaldo Hahn, from an earlier generation.  We heard selections from Venezia sung in gorgeous Italian and were swooning.  The rippling rolling chords in the piano and the melismatic singing in "La barcheta" made this romantic tale our favorite.  We also enjoyed the much less romantic "L'avertimento" in which the poet warns his friends against a beautiful girl with the heart of a tiger and the irony of "Che pecà" in which a man expresses his ambivalence about getting over a frantic passion.  Ms. DiDonato's acting was incomparable.

Rossini's "Canzonetta Spagnuola" with its vocal fireworks and gradual accelerando made the perfect encore.  We were totally satisfied but--wait--there was one final encore "Non ti scordar di me" by Ernesto de Curtis. We felt sorry for the lone couple who were running to catch a train; we wouldn't have missed a single note of it.

ⓒ meche kroop