BORGIA NON BORING

 

(at left)  Toni Marie Palmertree

(Photo by meche kroop)

(at right)  Eric Botto and Madison Marie McIntosh

(photo by meche kroop)

Gaetano Donizetti's 1833 opera Lucrezia Borgia was given an impressive concert performance last night at The Center at West Park. With musical values this strong, it should have been staged at The Metropolitan Opera. Why is this bel canto masterpiece so rarely staged? Was Victor Hugo's play (on which Felice Romani based his libretto) too shocking by its incestuous hints? Are the lead roles too difficult to cast?

We do believe we saw it at Caramoor about 10 years ago with Angela Meade in the challenging title role. We don't recall sets so perhaps it was also in concert version. The opera has everything one would wish for in a bel canto opera--a melodramatic plot (very loosely based on history), engaging melodic aspects, interesting orchestration, and opportunities for superstar singers. Last night's performance met all those requirements from the opening percussive rumbles and horn declarations to the final tragic finale.

Maestro Keith Chambers elicited a superlative performance from his orchestra and the roles were sung as grandly as one would wish for. As the titular anti-heroine, Toni Marie Palmertree dazzled with fioritura fireworks and sensitively colored her voice to suit the various circumstances--from tenderness toward her son to firmness toward her husband. The vocal lines flowed like warm honey. The vibrato filled the sanctuary with overtones.One could not have wished for a better performance in this treacherous role.

As Gennaro, her illegitimate son who had been raised apart from his ill-reputed mother, we heard tenor Eric Botto who filled out his role nicely. Unaware of  Lucrezia's identity and having been warned of her dangerous nature, his approach to her was wary.  But when singing with his friend Maffio Orsini. his voice wa colored with warmth. When there are no sets and costumes to help the story along, and when audience members do not wish to distract themselves from the singing to look at titles on their cell phones, these vocal colorations assume an outsize importance. We particularly enjoyed his duets with Orsini.

Which brings us to the remarkable performance of mezzo-soprano Madison Marie McIntosh as Maffio Orsini. She excelled at creating a character, an important character by virtue of his closeness to Gennaro. The vocal colors that we so appreciated were augmented by meaningful facial expressions and gestures that defied the limiting aspects of the concert style production and the presence of the music stand. We couldn't help wanting to know more about Orsini's friendship with Gennaro. But that could be another opera! This artist has an enormous range and can dazzle with her upper extension and then wow us with husky low notes. We loved the accuracy of the embellishments and skips.

As the jealous husband, Don Alfonso, Duca di Ferrara, bass Eric Lindsey made a fine showing with growling low notes and an effective pianissimo As his confidant Rustighella, tenor James Danner made the most of a small but vital role.

The group of hotheaded young nobles who set the story in motion (by deleting the letter "B" in the Borgia family crest) was played by  four fine singers who held their own individually as well as in the ensembles. Tenors Scott Rubén La Marca and Pedro Barrera took the roles of Jeppo Liverotto and Oloferno Vitellozzo, respectively. Baritone Wilbert Kellerman sang the role of Ascanio Petrucci and bass-baritone Nate Mattingly took the role of Don Apostolo Gazella. Although it may not have been appropriate in this concert version, we longed for some differentiation of character. Nonetheless, the harmonies were deftly handled.

We enjoyed the lively chorus as well as they contributed to the musical texture. The score and orchestral parts were supplied by Maestro Eve Queler who must have conducted the work with her Opera Orchestra of New York at Carnegie Hall but that was probably before our time. It is indeed a pity that this opera has been so overlooked. The music is melodic and memorable.  And yet, the only piece that we heard before was the Brindisi "Il segreto per esser felice" and it is this piece that is running through our head!

© meche kroop

A STUNNING NEW OPERA

Whitney George, composer/conductor of Princess Maleine (photo by Brian E. Long)

It was a big gamble for Dell'Arte Opera Ensemble to commission a new opera; the gamble paid off and a stunning new opera was presented as part of the Summer Festival, honoring female composers, conductors, and directors. Billed as a fairy tale, we say otherwise. A fairytale is a folk tale that is handed down from one generation to the next with themes that are consistent from one culture to the next.

Whitney George's new opera has elements of fairy tales--Kings, Queens, a Princess in a tower, a Prince Charming, etc. but it is based upon an 1890's play by Maurice Maeterlinck that was not produced until after his death. The Symbolist movement in literature is difficult to define but, no matter, librettist and director Bea Goodwin has chosen her own take on the story, emphasizing the agency of the female characters. In this she has largely succeeded.

Actually, the most interesting character onstage is Queen Ann of Jutland, portrayed by the fascinating Mr. Liz Bouk whose regal appearance, expressive face and body, and arresting contralto voice lent verisimilitude to the characterization. Queen Ann is the very image of the evil stepmother, but here the character is the evil mother-in-law-to-be. She is a master manipulator, both of King Hjalmar of Ysselmonde, of whom she is the consort, and of her own daughter Princess Ursula (Uglyane in the Maeterlinck). She succeeds in killing the lovely Princess Maleine of Harlingen, a role portrayed beautifully by the lovely light soprano Elyse Kakacek, who looked and sang exactly right.

Bass-baritone Eric Lindsey lent his splendid voice to the role of King Hjalmar of Ysselmonde, a man whose power declines once he destroys the kingdom of his neighbor King Marcellus of Harlingen (portrayed by Jonathan Harris), a man who makes the foolish decision to insist that his unwilling daughter Princess Maleine marry a Burgundian, for political reasons.

The role of King Marcellus' wife Queen Godelive was superbly sung by soprano Kristina Malinauskaite. Her character was portrayed as kind and gentle but she dies along with her husband in the war with King Hjalmar. She reappears as a spirit again in Act II. Neither of the pair provide any support for poor Princess Maleine who has fallen in love with Prince Hjalmar, portrayed by Jeremy Brauner, whose grainy tenor seemed all wrong for the part, the only casting decision that seemed flawed.

Mezzo-soprano Nicholle Bittlingmeyer made a fine Aleta, Lady-in-Waiting to the Princess, accompanying her on her journey. The two of them had a lovely duet in Act I.

Playing The Fool was counter-tenor Jeffrey Mandelbaum whose flexible face, supple body, and eerie tone were just right for the part. Sometimes he commented on the action, sometimes he guided the action, and sometimes he lead the characters astray. But he always entertained.

Tenor Gabriel Hernandez and baritone Connor Lidell had a fine bit together as the Guards Vanox and Stephano. Baritone Shane Brown took the role of Angus, confidant of the Prince. In a confusing costuming decision, the two men who had a similar appearance, with matching bald pates and nearly identical costumes, seemed interchangeable.

We enjoyed the performance of soprano MaKayla McDonald as Queen Ann's daughter--a most reluctant bride for King Hjalmar's son. Her performance was both touching and humorous. The only plot point that was unexplained was how the two had never met since their respective parents ruled together!

The mime show held during the overture involved the petite Megan Vanacore  playing the part of Queen Ann's young son flying a kite. The libretto indicated that the kite represented a soul, yearning and aspiring--but held to the ground by the string.

Marcus Hollie portrayed the doctor who concocts poisonous elixirs for the evil Queen.

Stealing the show was a realistic puppet-poodle named Pluto, marvelously manipulated by the aforementioned Jonathan Harris.

There was something particularly special and seemingly authentic about a scene in which the Princess and Aleta escape from the tower and come upon a tavern. The libretto here was more than usually clever and made us think of Sondheim. Jessica Harika and Anna Woiwood were appropriately basse classe. We liked Ms. Goodwin's libretto best when it rhymed and scanned. There were some clever moments indeed!

What about Whitney George's music? Well, dear readers, we have saved the best for last. This was our first exposure to Ms. George's music although we have enjoyed her finely detailed conducting before. Unlike most contemporary compositions, what we heard offered delights aplenty. There was ample variety of styles and colorful orchestration for the 14-member chamber orchestra. Woodwinds and brass were particularly noteworthy, as were the ethereal sounds from the percussionist. Lyrical passages alternated with rhythmic staccato sounds. There were no longueurs; our attention was held throughout. As you may have predicted, we would have preferred more melody in the vocal writing.

There was even a tango, accompaniment to a scene in which Queen Ann tries to seduce the Prince. More credit to choreographer Lauren Hlubny!

Costume Designer Claire Townsend provided lovely gowns for Queen Godelive and the Princess, and a splendiferous one for Queen Ann. The two Kings, whilst a bit more modest, could not be mistaken for commoners.  The Prince, however was clad in a rather contemporary suit, as was his buddy Angus. It was difficult to see him as a prince.

Joo Hyun Kim's set was simple but effective with lighting handled by Dante Olivia Smith.

We would like to close by mentioning how much more enjoyable this original work was than the recently reviewed Thirteenth Child and Korngold's The Miracle of Heliane--both failed attempts to create a fairy tale. That is a difficult task to achieve, matching the wisdom of centuries of storytelling. Just think about the success of Cenerentola, Cendrillon, and Hansel und Gretel! Rossini, Massenet and Humperdinck had real fairytales to work with.

If you are tempted to see for yourself, there will be one more performance Saturday night. To tempt you further, we will post a carousel of photos on our Facebook page--Voce di Meche.

(c) meche kroop

OPERA, FUN, AND FASHION

Liana Guberman, Eric Lindsey, and Kirsten Scott

We were there at Bare Opera Company's birth and get a special thrill from watching them flourish. Their interest in immersive opera has taken them to some very interesting venues and has led to some productive partnerships with artists from other disciplines.

Last night, in celebration of Valentine's Day, they joined forces with Lyric Chamber Music Society of New York for the third time at the Kosciuszko Foundation. It was a very special evening. Costumes were devised by designer Taylor Mills, whose company Taylor Catarina has launched a line of clothing suitable for singers and dedicated to comfort and flexibility. So we got a fashion show along with our recital of opera standards.

The arias and ensembles were almost all chosen from among the more well-known and accessible operas, which was just fine with us and very suitable to an audience that may not be as familiar with opera as are regular opera goers. In place of titles, the program included brief synopses of each piece. 

The opening was a real stunner. Although British Airways has done everything to make a cliché of  the "Flower Duet" from Léo Delibes' Lakmé , it's melodic and harmonic beauty refuse to be trivialized. With Kaleigh Rae Gamaché's crystalline soprano paired with Kirsten Scott's creamy rich mezzo-soprano, we felt as if we were discovering it for the first time.

This may be a good time to point out that Bare Opera was co-founded by Ms. Scott and Maître de Chant Laetitia Ruccolo, whose artistry at the piano ensured that we never missed the orchestra. What colors this beautiful young woman can produce on those 88 keys!

All of the young artists are prize-winners and have sung in several opera companies around the country, as well as taking assignments abroad.

Baritone Suchan Kim, a Bare Opera regular, is the possessor of a very fine instrument that he employs with superb technique.  Moreover, his extensive repertoire allows him to slip into a very wide selection of roles with every gesture and facial expression intact--but always appearing spontaneous. That's a wonderful skill! We loved his interpretation of Doctor Malatesta describing the potential wife he has found for Don Pasquale in the Donizetti opera of the same name. "Bella siccome un angelo" is an old favorite for the baritone fach but we seemed to be hearing it anew.

Later in the program, he performed a duet from the same opera with the superb soprano Liana Guberman. In "Pronto io son", Malatesta is coaching Norina in how to fool Don Pasquale into thinking she is a shy convent girl. Ms. Guberman was unfailingly funny as well as musical.

She was contrastingly serious in "Dis moi que je suis belle" from Massenet's Thaïs, the one aria on the program that was of the less familiar category. It was delivered dramatically and poignantly, leading us to wonder why it isn't performed more regularly.

Bass-baritone Eric Lindsey is another singer we have come to admire in a great variety of roles. He made a dashing Don Giovanni in duet with Ms. Gamaché as the peasant girl Zerlina, all too willing to be seduced in "La ci darem la mano". From the same opera, he gave a different spin to the role of Leporello in the famous "Catalogue Aria". We have seen and relished Mr. Lindsey's performance of the role of the Don in a Dell'Arte production, and if we were casting the Mozart opera we wouldn't hesitate to put him in either role!

We also enjoyed two selections from Bizet's Carmen.  In the "Habanera", Ms. Scott captured all of Carmen's fickleness with her expressive dusky mezzo. Tenor Victor Starsky, in a later scene, tries to appease Carmen's anger with "La fleur que tu m'avais jetée".

Ms. Gamaché wowed the audience with the challenging aria "Glitter and Be Gay" from Bernstein's Candide. As if we were not already dazzled, she threw in a high F, taking the audience to the heights, as it were.

Puccini's La Bohême also made an appearance on the program with the aria from Act I ("O soave fanculla") in which Mimi (Ms. Guberman) and Rodolfo (Mr. Starsky) fall in love and decide to spend Xmas Eve together. Later, in a scene which opens the last act, Rodolfo (Mr. Starsky) and Marcello (Mr. Kim) torment each other with reports of having seen their estranged lovers. The two men are unable to concentrate on their writing and painting but the two singers were able to deliver artistically.

Our favorite trio is from Mozart's Cosi van tutte. In "Soave sia il vento", Fiordiligi (Ms. Guberman), Dorabella (Ms. Scott), and Don Alfonso (Mr. Lindsey) are watching Ferrando and Guglielmo sail away. The women are bereft but Don Alfonso is laughing up his sleeve. The harmonies are gorgeous and the singing just perfect. Ms. Ruccolo's piano created the sea for our eager ears.

The evening ended with the Finale of Act I from Rossini's La Cenerentola in which all six cast members participated. Rossini's froth is the perfect way to end a satisfying program of opera.

Bare Opera's next venture will be Astor Piazzola's tango opera Maria de Buenos Aires.  Stay tuned for details.

(c) meche kroop

A LA FRANÇAISE

Kelly Lin, Eric Lindsey, Jenny Lindsey, Anna Cley, Elizabeth Tapia, Natasha Noviskaya, and Thomas Gruenthal at National Opera Center

We have often wondered what brings singers to attend master classes. After all, they have teachers and they have coaches. Is it the opportunity to work with someone renowned like Marilyn Horne or Joyce Di Donato? Is it the wish to take their singing to another level? Is there some gap in their teacher's knowledge or skills? Is there some block they have been unable to remove?

Someday we would like to interview students before they take a master class and then conduct an "exit interview" to see if they achieved the results for which they hoped. Last night we sat in on a master class conducted by the very French Anna Cley, focusing on French opera and art song. There was no doubt about what she had to offer and what her students gained.

Of course there was the usual work on the line, with a terrific visual image offered of a string of beads. Of course there was the customary and valuable instruction to speak the text first, to vocalize the melody, to speak and sing the text with only the vowels, and only then to drop in the consonants.

Yet, Ms. Cley's special tutelary offering concerned those very same vowels and consonants which so greatly confound American singers, who all seem to make the same mistakes. The vowels in French are very particular and do not employ diphthongs as English does. The consonants make much more use of the lips and teeth with less movement of the jaw.

To listen to and learn from Ms. Cley was a highly rewarding experience both for us and for the five excellent singers we heard. To set the tone for the class, Ms. Cley herself performed Dubussy's "Nuit d'étoiles" far lovelier than we have ever heard it sung before.

Soprano Jenny Lindsey followed, working on "The Jewel Song" from Gounod's Faust. She formed an impressive connection with the character, showing the bedazzlement of an innocent. In our mind's eye we could see the mirror in which she was admiring her unexpected treasures. She sang in a bright clear voice with a fine trill; her work with making the consonants more explosive and a little trick about the "k" sound took the performance to a new level. Learning the correct pronunciation of the nasal in "charmant" was helpful.

Thomas Gruenthal performed "Intimes IV" from Poulenc's cycle Tel Jour Tel Nuit. The chanson is otherwise known as "Figure de force brûlante at farouche" with text by Paul Éluard. The text made no sense to us but it did to Ms. Cley who explained it to Mr. Gruenthal and urged him to show the despair and darkness of it. They worked on the final "e" and we learned a new tip about singing two adjacent consonants like "pl".

Mezzo-soprano Natasha Noviskaya exhibited a lot of strength in the lower register in the card scene from Bizet's Carmen. We learned the correct pronunciation of "sais" without a diphthong and did some work on "la mort".

Bass Eric Lindsey performed "Épouse quelque brave fille" from Massenet's Manon, in which Le Comte des Grieux tries to convince his son to abandon the religious pathway, to get married to a suitable girl, and to continue the family name. (Manon succeeds on the first account where Papa has failed, as you all know.) It was an excellent authoritative performance and needed only a few hints.

Soprano Elizabeth Tapia gave a bright and lyrical performance of "Elle a fui la tourterelle" from Offenbach's Les Contes d'Hoffman. By the end of the class, we noticed that the final students had already profited by listening to the pointers given to the first few students. We were hearing more differentiation between "d" and "t", longer vowels, and consonants formed more in the front of the mouth.

Frankly, we have always praised singers in French for singing so that we could understand the text.  Now we know a bit more about what to listen for and are afraid of being overly critical. But it is these fine points that differentiate a good enough performance from an accurate one.

The excellent accompanist for the evening was Kelly Lin.

We hope to attend more of Ms. Cley's upcoming master classes and urge all singer who sing in French to seek a place in her classes.

(c) meche kroop

TRISTAN UND ISOLDE--NOT FOR THE FAINT OF HEART

Cast of Tristan und Isolde at National Opera Center

By guest reviewer Ellen Godfrey

Producing, preparing, and performing Richard Wagner’s Tristan und Isolde is not for the faint of heart.  Wagner’s operas demand so much from the singers, musicians, designers, and directors…arguably more than any other composer.  Artistic consultant Peter Randsman started thinking about the possibility of a concert performance of the opera without orchestra, but with piano, to be performed in a small intimate performance space. His goal was two-fold; first to have the singers articulate the text…to be dramatic and to get the emotion out there without scenery or costumes and secondly to give singers a chance to perform this great and taxing opera and to give the audience the opportunity to hear it.

 Peter and his colleagues assembled a fearless cast of singers. Coordinating the performance was conductor and music director, Maestro David Gilbert, chief assistant to conductor Pierre Boulez at the 1976 Wagner Bayreuth Festival, and pianist William Hobbs, a soloist as well as featured pianist with orchestras, and ensembles. LeAnn Overton wrote the English subtitles. She is a vocal coach on the faculties of Manhattan School of Music and Montclair University. Peter Randsman has performed as an actor/singer in many musicals, has sung with the New York City Opera, and has his own artistic management company. He was very involved in working with the singers.

This Tristan was performed at the National Opera Center in New York City, to a sold out house on Friday evening, November 30. I am happy to report that it was a great success.  Maestro Gilbert’s conducting was firm and totally attuned to every nuance of the difficult score. William Hobbs was amazing at the piano; for over four demanding hours he played with passion, drama, sensitivity, and understanding.

The opera was sung in German, with English subtitles and, as is common in concert versions of operas, the singers had scores. However, they were still able to convey their emotions and interact with each other. The rehearsal period was only three weeks. The only singer in the cast who had ever sung Tristan was Adam C.J. Klein, who performed the role at the Seattle Opera. It truly is amazing that the performance came together so well.

Tristan und Isolde is based on a 12th century Germany legend. Tristan is bringing Isolde to Cornwall by ship for her marriage to King Marke. Isolde and Tristan have both fallen in love with the other, but both keep their feelings hidden. Brangane, her maid, can see that Isolde loves Tristan and substitutes a love potion for the poison Isolde and Tristan were preparing to take. Under the spell of the potion, Isolde and Tristan admit their love for each other. 

Later they have a passionate encounter at night, but are discovered by King Marke, who is furious. Tristan flees to France despite the wounds inflicted on him by his former friend and betrayer Melot. Isolde follows him to France,but by the time she gets there he is dying. She dies by his side, enraptured and transfigured by love.

The singers were all up to the task. After the first act prelude, the tenor, Jeremy Brauner, sang a lovely Irish song beautifully and clearly. He was equally at ease with three other roles; the betrayer Melot, a steersman, and a shepherd.

There are few opera soprano and tenor roles that have as much singing as  Isolde and Tristan do. Both Julia Rolwing, as Isolde, and Adam C. J. Klein as Tristan, proved to be wonderful in their parts.  In Act I, Isolde’s narrative and curse, Julia Rolwing displayed the anger boiling inside.  She has an even dramatic soprano range, from top to bottom and has no fear of the high notes. Her voice has a lovely dusky quality.  

Adam C. J. Klein was equally fearless in his singing. He has a bright tenor voice and uses it for dramatic purpose when called for. After drinking the love potion, they sang lovingly to each other.  The Act II duet, which runs about 30 minutes, was introduced very delicately by William Hobbs and was sung with great love, excitement, and intensity.

Act III belongs to Tristan; who sings for about 40 minutes, with a couple of interruptions by Kurwenal. While some tenors take some cuts in the third act, Adam insisted he would sing it uncut. The length of the scene did not prevent him from singing with passion and a strong, dramatic voice. 

The end of the opera belongs to Isolde. After all that singing, Julia Rolwing could still sing an unforgettable Liebestod…starting off slowly and gradually increasing in sound and going easily higher and higher until the music fades.

Brangane, Isolde’s maid, was performed by Alison Bolshoi. Although she was a soprano, she is now a contralto. She has an exciting and even big booming voice from top to bottom.  The lower notes of her contralto voice are absolutely gorgeous.  Her singing of Brangane’s watch in Act II, was outstanding.

Kurwenal, Tristan’s retainer, was sung by helden-baritone Bryan Glenndavis. His voice beautiful voice is very expressive and big. He is perfect for Wagnerian roles.

King Marke, who is to marry Isolde, was sung by bass Eric Lindsey. I was  extremely impressed with his distinctively beautiful bass voice. He sang without pushing his voice and was very dramatic in his castigation of Tristan.

Justin McBurney, the English horn player had a lovely tone. He comes in for the third act. He played with great joy ,when appropriate and also great feeling.

Thanks to all who participated in this wonderful performance.  I found it very interesting just hearing the piano, especially played by such an excellent  pianist as William Hobbs. Maestro David Gilbert led a brilliant performance. There is nothing better than hearing opera voices live. I hope that Peter Randsman and his group can perform other operas in a similar manner.

COURTESANS AND THE MEN WHO LOVE THEM

Jonathan Tetelman, Emily Birsan, and Ethan Simpson

We can think of no opera we like better than La Traviata, nor can we think of a heroine who touches our heart as deeply as Violetta does.  Readers, you are about to hear an extravagant encomium. We have seen dozens of performances of Giuseppe Verdi's masterpiece and have never seen one so perfectly cast as the one we saw last night at Merkin Hall.

Who but Daniel Cardona of Martha Cardona Opera takes the time and does the hard work to discover young artists with big impressive voices and fine technique--and to give them a New York stage on which to show their stuff. Production values in this semi-staged production may have been at a minimum but the casting was first rate.

As the tragic heroine Violetta, soprano Emily Birsan used her generous instrument with emotional accuracy by means of vocal coloration and consummate skill in the fioritura, which never seemed gratuitous but always connected with the feelings of Piave's text.

We love Violetta for her dignity and emotional freedom and we love witnessing her characterological growth from the wild spirit of Act I to the desperate frail creature she becomes by the end. We watch and hear her deal with ambivalence in Act I; what independent woman has not felt such ambivalence about accepting love into her life with all its concomitant risks! Ms. Birsan captured it all in a way that no one could fail to grasp.

Just watching her blossom in Act II, only to have her butterfly wings pulled off by the self-righteous father Giorgio Germont, who manipulates her into leaving his love-besotted son by playing the religion card. Stunned by the magnificent performance of baritone Ethan Simpson, we observed this stiff-necked provincial soften when faced with Violetta's dignity and devotion.

In Act III one could observe the outcome of her enormous sacrifice. Love is the best medicine but loss of love is totally toxic. Her frailty and thin thread of hope kept the audience riveted until she collapsed into Alfredo's arms.

And what an Alfredo we had last night!  Tenor Jonathan Tetelman is a star on the rise and if you were there last night, you got to say you "heard him when". Finding a tall handsome tenor with terrific tone is almost impossible, but one with superb technique is beyond belief. We heard marvelous phrasing, lovely legato, superb command of dynamics, and a variety of vocal colors. Significantly, he doesn't push his voice but floats the tone confidently.

Alfredo also grows as a character. He begins as a love-sick pup in Act I and blossoms into a loving man in Act II. His apparent rejection by Violetta creates grief and then anger. The sympathy of his father in Act II becomes disdain and shame in Act III when Alfredo behaves badly toward Violetta.  Only in Act IV is there resolution, when all three principals can share their grief.

What a pleasure to see three young artists interact so believably! It was impressive to watch the young Mr. Simpson convince us that he was a middle-aged father by the manner in which he moved his body and the authoritative tone in his voice! This is surely a baritone to watch! Both his arias in Act II were outstanding.

Another dramatic "deception" was seeing the beautiful young soprano Maria Brea transform herself into the elderly and exceedingly dowdy Annina. Although she had but a few lines, they were well sung.

As the unpleasant Barone Douphol, we had the excellent baritone Eric Lindsey whom we always enjoy.  He and Mr. Tetelman created the requisite tension in Act III without benefit of a gambling table. Tenor Ganson Salmon was effective as Gastone, Alfredo's friend. Mezzo-soprano Stephanie Sanchez made a fine Flora with bass Neil Eddinger as her Marchese.

In a semi-staged production like this, the acting took place in a narrow space in front of the orchestra with only a couple pieces of furniture. It is testament to the vocal and dramatic skills of the principals that we were able to focus on them and to create scenery for them in our mind's eye.

Maestro Gregory Ortega is a conductor of precision; he evoked an excellent performance from the Martha Cardona Opera Orchestra. We could not have asked for better musical values. We might have asked for better titles, but if the only quibble we have is with a recalcitrant projector, that should tell you how much we enjoyed this production.

The highly regarded Jestin Pieper served as backstage conductor (Mr. Tetelman's offstage singing at the end of Act I sounded great as did the Carnival crowd in Act IV) and master of the excellent chorus who portrayed party-goers.

Watch out for these rising stars!  May they fill the operatic firmament with their glitter.

(c) meche kroop

BEHIND THE SCENES WITH OPERA IN WILLIAMSBURG

Haeran Hong, Won Whi Choi, and Director Fabrizio Melano

Probably most opera goers realize how much work it takes to develop an operatically trained voice; but few of us give much thought to what it takes to put an opera onstage for us to enjoy. Fortunately, we had the privilege of being invited to attend a rehearsal of Verdi's tragic masterpiece La Traviata which will be performed by Opera in Williamsburg (Virginia), opening on September 12th.

We have always wished that this company were in Williamsburg, Brooklyn, but it is not. Sadly we have not been able to leave New York to attend a performance but Founder Naama Zahavi-Ely kindly gave us an opportunity to witness the creative process.

Director Fabrizio Melano's process is one we could readily understand. Every line was first spoken and then sung.  Psychological motivations were explored and justifications were offered for each stage movement.  The process was meticulous and fascinating.  Here is just one example from the final scene--Violetta, sensitively portrayed by the splendid soprano Haeran Hong, does not read the entire letter from Germont.  She reads the first few lines because she knows it by heart.  She crumples it.  She presses out the wrinkles. These small touches tell us so much about the character.

Alfredo's greeting of his father (baritone Marco Nistico) tells us how much he has grown up over the prior few months. Terrific tenor Won Whi Choi received some very detailed direction which we will not share in case you are moved to attend the performance. We can only tell you that you won't be disappointed.

The role of Dr. Grenvil was performed by Eric Lindsey, whom we just reviewed as Don Giovanni with Dell'Arte Opera Ensemble. He too received some interesting direction; when everyone else is expressing joy at Violetta's apparent recovery, he alone accepts the reality of her impending death.

Megan Pachecano in the role of Annina was given lots of direction for the way she relates to Violetta--when to rush in and when to stand back and give her room.

The rest of the cast comprises some rising stars we know and love--Suchan Kim, Pavel Suliandziga, Kirsten Scott, and William Desbiens.

The conductor is the gifted Jorge Parodi and we mustn't overlook how involved the conductor is from the very beginning of the rehearsal process. We hope you didn't think the conductor just shows up when the orchestra does!

We did not get to experience the final part of the rehearsal process with the orchestra but we did enjoy  Abdiel Vasquez' piano accompaniment.

© meche kroop

#MeToo DON GIOVANNI

Elyse Kakacek (Zerlina) and Eric Lindsey (Don Giovanni)-- Photo by Brian E. Long

Mozart's Don Giovanni is one of our very favorite operas and we always prefer to see it as Mozart and librettist Lorenzo Da Ponte intended. But this year we have seen a few radical interpretations that held our interest. Last night, Dell'Arte Opera Ensemble presented a version directed by Owen Horsley that was informed by the #MeToo movement. It is no secret that men in power often operate with a sense of entitlement that expresses itself toward attractive young women. Da Ponte didn't invent the concept!

The problem with presenting centuries-old stories with a modern twist is that of the Procrustean bed. Situations don't always fit right and those of us familiar with the traditional will be more than usually aware of the lapses. Those new to opera, like our companion last night, seem to take these lapses more easily.

Particularly, we hadn't a clue as to why Donna Anna, dressed like a secretary applying for a job,  was sitting on a chair outside Don Giovanni's door, from which she fled shortly after entering with her hosiery falling down. Perhaps she was meant to be an actress auditioning for a part. Who could tell? Of all the characters, hers was the one lacking a point of view and a backstory. We simply couldn't connect.  And after being brutally beaten with his own cane by Don Giovanni, why does the deceased Commendatore get up and walk out?

Well, this is opera so let us focus on the musical values which were splendid all around. To begin with, Maestro and Artistic Director Chris Fecteau wielded his baton with precision and gusto, giving us a satisfying reading of Mozart's score. We were delighted to hear some of the inner voices that often get swallowed up in larger venues. The Dell'Arte Festival Orchestra played beautifully for him and Lucas Barkley made some fine sonorities on the harpsichord. 

The overture was replete with portentous chords and anxious ascending and descending scale passages, setting the stage for the drama to follow. We always love the musical jokes when the onstage musicians play for Don Giovanni's dinner and Leporello complains about hearing an excess of Mozart's music! But here, the musicians were not onstage. We also missed the strange music in the party scene in which we hear music both refined and rustic in simultaneous cacophony.

The singers were superb. As the eponymous Don, Eric Lindsey's low and resonant voice was employed with fine phrasing. His Don walked a fine line between being charming and being violent. His immersion in the character was total and we found ourselves alternatively drawn in and repelled by him. The "Champagne Aria" was splendidly performed.

His scenes with Zerlina were some of the best of the evening. The duet "Là ci darem la mano" was delightful. Soprano Elyse Kakacek, another Dell'Arte regular, stunned us by her unwavering presence in the role. Her bodily and facial gestures were completely consonant with what was happening onstage. She was an all-too-willing "victim" for Don Giovanni's seduction. Her "Batti, batti" was beautifully sung, as was "Vedrai carino", strangely delivered sitting in a chair, facing the audience and not Masetto.

Nobuki Momma's Masetto was a well wrought characterization and his interactions with Don Giovanni and with Zerlina were completely convincing and seemed very au courant. We loved the scenes of the wedding with bridesmaids and ushers taking selfies and Masetto taking offense at Zerlina's unseemly behavior.

An outstanding performance was delivered by Jonathan Harris in the role of Leporello, Don Giovanni's much-abused manservant.  Like Ms. Kakacek, every facial expression and gesture reflected what was happening onstage; he used his excellent instrument with artistry. We loved his duet with Ms. Kakacek "Per queste tue manine" which we have rarely heard, and his sensational "Catalog aria" made use of a portfolio of photos, rather than the customary list.  Very 21st c.!

Three cheers for the Donna Elvira of soprano Jessica Mirshak. Not only was her "Mi tradì quell'alma ingrata" convincing in its self-righteous anger but her entire characterization gave us the feeling that we knew who she was and how she suffered and how entranced she was by the vile seducer.

Tenor Morgan Manifacier fulfilled the demands of the role of Don Ottavio, whom Donna Anna will probably never marry. He exhibited just the right degree of ardency which was just not ardent enough to win her affection. "Il mio tesoro" was cut (and missed) but he did well with "Dalla sua pace".

Soprano Jenny Lindsey lent her lovely voice to Donna Anna in "Non mi dir"; our only problem was trying to understand who she was. Perhaps it was the unflattering costume and some very distracting flashy sandals but she came across as a cipher. Perhaps a stronger directorial influence was needed. A novel directorial approach was that she was clearly lying to Don Ottavio about the so-called rape. This confused us further. He was never masked and she entered what appeared to be his hotel room willingly.

Hector Mori took the role of the Commendatore whom Don Giovanni invited to dinner. He appeared with stripes of white chalk on his face, presumably representing ghosthood.

Matthew Iacozza's set comprised a bunch of identical doors, through which characters came and went, lending a more farcical tone to the action than we might have wished. There were several instances when we were confused about what space the characters were entering or leaving. We sometimes wished that they had just walked in from the sides. 

The theater at La Mama has a balcony on three sides and we also wished that the serenade scene "Deh vieni alla finestra" had made use of it! There was nothing onstage to indicate the cemetery scene. We could have been anywhere. Props like cell phones told us that the drama was taking place in the present.

Dante Olivia Smith's lighting didn't quite succeed. A number of scenes would have benefited by being darkened, especially when Leporello exchanges clothing with his master and fools Donna Elvira. 

Claire Townsend's costumes were satisfactory, except for that of Donna Anna who sported flashy sandals with a modest dress. Zerlina's wedding dress, on the other hand, was perfect in demonstrating her sexual wavering.

Although Mr. Horsley's concept paid total attention to the rampant sexism, it ignored the classism so important to the tale. There was no differentiation between the so-called aristocrats and the so-called peasants. Perhaps this was intentional. Lecherous men feel entitled to all women regardless of their social class! The important thing here was that the women all stuck together and celebrated the destruction of the man who behaved so badly.

To summarize, we had a marvelous time, enjoying both the music and the characterizations. Our puzzlement over some directorial choices did not hamper our pleasure and probably won't hamper yours either, dear reader.

Take our advice and try to snag seats for the final performance Saturday night.  You will be both entertained and stimulated to think about gender relationships.

(c) meche kroop