POLIUTO REDISCOVERED

     Ricardo José Rivera and Chelsea Lehnea

(photo by Steve Pisano)

We cannot name a better educator in the field of opera than Will Crutchfield, General and Artistic Director of Teatro Nuovo. For many years we traveled up to Caramoor to enjoy his yearly entries into their summer music festival and lately we have come to enjoy his productions right here in New York City at The Rose Theater. His passion for Bel Canto opera fuels our own and his pre-opera lectures always contribute to our appreciation of the work to come. His expertise on Donizetti's advancements in the field of opera opened our ears to new listening discoveries.

We will report on tomorrow's production as well but we are too excited about last night's performance of Donizetti's Poliuto to hold our opinions inside. Performed without benefit of costumes and sets, the production went way beyond "concert style". We were not overwhelmed with meaningless and distracting projections; rather we saw each act accompanied by an upstage drawing of the respective settings , surmounted by translation of the libretto. The artists acted with conviction and the story was well told.

In an avalanche of casting glories we thrilled to the unique vocal timbre of soprano Chelsea Lehnea whose voice impressed us greatly at the Premiere Opera Competition earlier this year. She not only captured the emotional conflict of Paolina, a woman loyal to Poliuto (the man she wed after the reported demise of Severo, the man she truly loved), but also the pain of rejecting the latter after he finally reappears, alive and well. Her stunning technique was put into service to make dramatic points. Who could fail to notice the upward leaps followed by descending portamenti! Also well captured was the spiritual uplift of her decision to join Poliuto in Christian martyrdom.

As the eponymous hero, we heard tenorrific Argentinian Santiago Ballerini whose beautiful and unforced tenor added at least a foot to his physical stature. There is a special thrill to the tenor fach which can be destroyed in an instant by a tight throat in the upper register.  Mr. Ballerini suffers no such impediment and allows the listener to bask in his warm tone, even when singing at the top of the register at maximum volume. (We are congratulating ourself for predicting his success when we reviewed him 6 years ago.)

The role of the long lost lover Severo was effectively performed by Puerto Rican baritone Ricardo José Rivera with the artistry to match that of Ms.Lehnea and Mr. Ballerini. He was so persuasive in his Act II courting of Paulina we could only think of how difficult it must have been for her to hold him off. As in many operas of the 19th c., romance is often foregone out of a sense of duty.

In this case, the story came from a 17th c. play by Pierre Corneille based on the martyrdom of St. Polyeuktos in the early Christian Era, adapted into a libretto by Salvatore Cammarano with input from the intended star. Sadly he never got to sing the role since problems with censorship delayed the premiere until 1848, by which time Donizetti had tragically died and the famous tenor had equally tragically jumped to his death.  Now there's a plot for an opera!!!!

The censorship was caused by the Neapolitan censor's unwillingness to depict a Christian martyr as a jealous husband. Actually, the Christian conversion theme is the framework on which this romantic triangle plays out. Poliuto converts and,in solidarity, so does Paulina and both get thrown to the lions, a scene which the audience is fortunately spared. However it does give Poliuto and Paulina an opportunity to color their voices differentially.

The role of Nearco, the one who leads Poliuto to his conversion, was well sung by Robert Kleinertz, and we heard Krishna Roman in the role of Felice, Paulina's father. Jupiter's High Priest Callistene was portrayed by the imposing bass Hans Tashjian who successfully portrayed the vengeful rage of one whose religion has been scorned in favor of another one. With the full orchestra, his tone was often lost and when the orchestra was silent he sounded somewhat gravelly.

Speaking of the orchestra, we appreciated the many changes instituted by Teatro Nuova to respect the performing traditions of the period. Musicians were seated at audience level and instrumentalists were rearranged according to early 19th c. performing tradition. Most noticeably was the Concert Master--Jakob Lehmann-- leading the orchestra in place of a conductor on a podium. We thought he did a splendid job and we enjoyed the separation of the double basses for a delightful. effect in which they often served as percussion might have. The softer sound of gut strings and wooden wind instruments pleased the ear. We particularly enjoyed the woodwinds.

Special kudos to the members of the chorus who at various times portrayed Roman warriors and Armenian citizens willing to be cajoled into bloodthirsty cries for sacrifice.

We invite (urge) you Dear Reader, to enter "Poliuto" in the search bar if you would care to read about a production by Amore Opera from seven years ago which we reviewed.  We never thought we'd have a chance to hear those gorgeous melodies again and we are grateful to Teatro Nuovo for giving us the opportunity.

Their mission is a unique one--continual ongoing discovery and implementation of historically valid elements of Italian opera of the Bel Canto period.

Look for another review tomorrow!

© meche kroop

PRETTY IS AS PRETTY DOES

Pretty Yende and James Baillieu onstage at Zankel Hall

Guest review by Ellen Godfrey:

On Thursday evening the great South African coloratura soprano Pretty Yende performed an evening of vocal music at the sold out Zankel Hall. James Baillieu was the stellar pianist and accompanist. Many of us came to know  Pretty Yende when she made her unexpected Metropolitan Opera debut in 2013, filling in for an ailing soprano in the little known Rossini opera, Le Comte Ory. She had only one month to learn the opera but she learned it in one week!  She was a sensation and everyone in the audience (including me) knew that we were in the presence of the next great opera singer. She was only in her late twenties, but sang with maturity beyond her years. She also has a wonderful stage presence, a radiant smile, and “joie de vivre.”

After her Met debut and some other engagements, she took some time off for further study with some of the world’s great singing teachers. She has quickly risen to worldwide renown and is one of today’s most beloved opera stars.  She has sung in all of the major opera houses both here and abroad and performs in concerts all around the world. We are lucky to have had her here to perform the great song repertoire of Schumann, Donizetti, Tosti, Richard Strauss and Johann Strauss Jr. Ms. Yende sang comfortably in three different languages-- German, French, and Italian. Of the three, Ms. Yende’s German seemed to be the clearest.

The program began with 7 songs by the the great German composer and pianist, Robert Schumann. He was long in love with Clara Wieck, who was the daughter of his piano teacher, Friedrich Wieck. Wieck tried to break up their relationship but the couple finally was able to marry when Clara became 21 years of age. They married in 1840, sharing artistic and personal collaboration. It was the year of the song for Schumann, as he celebrated his marriage by composing poetic love songs for his new wife.  In that first year he composed 130 songs, including four song cycles!

When Pretty Yende entered the stage on Wednesday night wearing an extravagantly feathered pink gown, the audience greeted her with great applause and cheers.  She sang 7 Schumann songs, four of which she had chosen.  The first song she sang was “Der Nussbaum,” ("The Walnut Tree”). It speaks of the whispering movement of the walnut tree’s blossoms and  branches; the maiden listens as she drifts off smiling into her dreams of love.  Accompanist James Baillieu began playing very softly as Ms. Yende began to sing softly as well. The rapport between them throughout the concert was wonderful. The pianist’s playing whispered the sound of the trees rustling throughout the whole song.  The minute Ms.Yende started to sing we could hear her warm, pleasing voice come through, soft at first, then louder, and then softer again.  She has great control of her dynamics. 

Another charming song was "Schmetterling" in which a child tries to capture a butterfly. Ms.Yende made it all seem so simple, using her hands to portray the butterfly in a fast moving song that went up to an A at the end. Mr. Baillieu easily conquered the extremely fast moving music. In “Loreley”, his playing of the waves that lure men to their death was vivid and captured the somewhat scary mood of the song. The other three Schumann songs were equally delightful and full of vocal color.

The second set of songs were by the great bel canto composer Gaetano Donizetti, who composed 70 operas in a little more than 20 years.  Today only about 9 are popular. He also managed to fit in the composition of other genres of classical music including over 200 songs, chamber music, and piano music. His output is amazing, considering that he died from syphilis at the young age of 51!  

Ms. Yende chose three Italian songs on the lighter side. “Il barcaiuolo” starts off as a calm ride and becomes dramatic as the boatman worries his passengers about a possible rising storm. This song gave Ms. Yende the chance to show us her great coloratura singing as the vocal line gets more dramatic. The other two songs are also charming, "La conocchia" (“The Spindle”) based on a folk tale and "Le crépuscule" (“Twilight”) a serenade with French text by Victor Hugo.

 

Perhaps the most interesting music of the evening, because it is so rarely heard, was Donizetti’s rewriting of Lucia di Lammermoor for a French version of the opera, Lucie de Lammermoor.  It premiered in Paris in 1838, and is occasionally revived today.  Donizetti re-conceived the entire opera, making Lucie a more delicate victim. “Que n’avons nous des ailes” (“If only we had wings”) is in the typical bel canto form: a slow lyric part (called a cantabile)  followed by two stanzas of showy coloratura  (known as a cabaletta). 

Ms. Yende began quietly singing alone (a capella) until she was joined by Mr. Baillieu. The cabaletta requires bravura singing as Ms. Yende went higher and higher, displaying the liquid quality of her voice and moving easily among the very high notes. Her singing was accurate and remarkably flexible The second verse of the cabaletta was even more ornamented. 

After intermission,  Ms. Yende returned with a stunning gown, very bright and shining, almost to the point of requiring sun glasses on the part of the audience!  In the third set we heard songs by the popular and  beloved Italian composer Paolo Tosti.  He was a lyric tenor who had distinguished himself as a vocal teacher in London from 1882 to 1912. He was also a favorite of Queen Victoria and taught her children how to sing. He was knighted by Edward II in 1908. Many of his songs are still very popular today.

The tone of the Tosti songs is brighter and happier than those of some of the songs earlier on the program. “Aprile" is an enchanting song performed very tenderly by Ms. Yende, happily welcoming spring and the season of love. ”It’s April” is sung three times, each time sung differently. Mr. Baillieu played the arpeggi with great dexterity.

The Tosti songs were followed by lieder of Richard Strauss who is probably best known for his 15 operas; but he also composed over 300 lieder. He began to compose songs for the soprano Pauline de Anna whom he married in 1894.  For more than a decade they performed together in concerts.  Strauss loved the soprano voice and he considered her to be the best interpreter of his songs.

“ Zueignung” (dedication), which became one of his most popular songs, was his first performed lied and his favorite. I have to say that it is my favorite Strauss song as well. Ms. Yende sang it with all the lyricism and passionate outpouring required for this song. Again Mr. Baillieu followed her singing with the same feelings. “Cäcilie”, which was composed by Strauss on the eve of his wedding, is one of the most passionate songs ever written.  With huge arpeggi on the piano brilliantly played by Mr. Baillieu and Ms. Yende’s soaring, expressive voice, it made for a wonderful ending to this group of six songs.

Ms. Yende smartly ended the concert with a work by another Strauss who was not related to Richard. Johann Strauss Jr., the King of Operetta, composed in the late 19th and early 20th century.  In the second act of Die Fledermaus, Eisenstein’s wife, Rosalinde, gets back at her wandering spouse by disguising herself as a Hungarian countess.  Ms. Yende sang the Csardas with Hungarian style, singing the first part slowly and ending with a flourish, showing her great acting and sense of comedy.

The audience cheered and yelled for the two performers and eventually were awarded with some encores.  The first was the Neapolitan song “A Vucchella”, a Neapolitan sounding song with lyrics by Gabriele D’Annunzio.  Although Tosti was from the Abruzzo area of Italy, he wanted to prove that he could write in the Neapolitan dialect. The song has always been very popular and was sung with charm and humor by the artists. 

Throughout the whole concert Ms. Yende had a music stand with her music in front of her. She was often looking at the music more then communicating with the audience.  It wasn’t until the last encore, “Una Voce Poco Fa” from Rossini's Il barbiere di Siviglia, that she finally freed herself from the music stand and moved around the stage, flashing her wonderful smile and her impeccable singing. We finally saw the real Pretty Yende, joyous, free from any restraints, and communicating with the audience.

© meche kroop

    

    

PLAYING FAVORITES

Eamon Pereyra, Kevin Thompson, Peter Scott Drackley, Catherine Martin, Keith Chambers, Steven LaBrie, and April Martin in Donizetti's La Favorita

Planet Opera gathered in full force last night to hear a rarely performed Donizetti masterpiece on which the master lavished an unending stream of gorgeous melodies, and to which Maestro Keith Chambers gave a stunning production.  Half the cast was unknown to us so we felt as if we were making one discovery after another. It is quite something to sit in a steamy church (The Center at West Park Presbyterian Church) on hard pews and never notice the discomfort.

For this we credit six superb singers and Maestro Chambers who commanded his orchestra with precision and attention to subtleties. We also credit Maestra Eve Queler who provided the scores in a generous gift to New Amsterdam Opera, a relatively new company that merits our support.  You would not have gotten to hear this opera at the Metropolitan Opera which hasn't tackled it since 1976 when the legendary tenor Luciano Pavarotti sang the role of Fernando.

M. Queler presented it twice and we were actually in attendance in 2001 when Dmitri Hvorostovsky sang the role of King Alfonso. We were new to opera at that time and not writing about it. But we subscribed to Opera Orchestra of New York and sat in the balcony of Carnegie Hall, thrilling to Donizetti's beautiful bel canto lines. Last night's performance was dedicated to the recently deceased and sorely missed baritone.

Although the libretto was originally written in French and premiered in 1840, we were very happy to hear it in one of two Italian versions. Italian simply sings better! Although there were no titles, a minimal knowledge of Italian combined with the acting of the singers made everything clear.

Most people know of the existence of this opera through two of its most famous arias, the mezzo aria "O, mio Fernando" and the tenor aria "Spirito gentil". But there isn't a single aria or duet in this opera that would be unwelcome in a recital. That being said, our wish list would include a production of the very performance we heard last night (in concert style) but with sets and costumes. We would not wish for a single change in the cast. They were perfect!

It's always a pleasure to hear a mezzo-soprano in a starring role and Catherine Martin was a brilliant choice for Leonora, singing with true mezzo sound, lovely phrasing, and enough expression that we understood all her ambivalent feelings. Her voice was centered throughout the range and she left nothing to be desired in her portrayal. Leonora had been brought to Castile by the King but relegated to the position of mistress, since King Alfonso was already wed to the daughter of Baldassare, prior of a monastery and tight with the Pope. 

Small wonder that she fell in love with Fernando who fell in love with her and left his position as novice, suffering the disdain of Baldassare, who warned him about the evil world outside the monastery and predicted his return.

As Fernando we enjoyed the tenor of Peter Scott Drackley who managed to be both agile and full voiced. Without using his face or body, his voice conveyed the abrupt change of feeling he experienced when he learned that his new bride Leonora had been the King's mistress. Of course, at the end of the opera, he forgives her and must once more change the color of his voice before she dies in his arms.

King Alfonso is not a bad sort at all and baritone Steven La Brie gave a ground breaking performance that brought thunderous applause from the audience. Mr. La Brie is one of three cast members that we know and we have been following his rise for several years. We just heard him last month but it was impossible to evaluate how much he has grown because he was singing contemporary music in English. To really appreciate a voice, we want to hear 19th c. Italian. Our conclusion is that Mr. La Brie is phenomenal on every level--tonal clarity, phrasing, coloring, flexibility--it was all there.

As the smug Baldassare, bass Kevin Thompson turned in his customary powerful performance, filling the resonant sanctuary with depth and breadth. In the struggle between Church and State, his relationship with the Pope put him in a position of power, threatening the King with excommunication if he divorces the Queen (his daughter).

In a reversal of fach, the mezzo Queen is served by a soprano handmaiden, in this case the excellent April Martin (no relation) whose voice soared into the stratospheric reaches of the sanctuary, proving the maxim that "there are no small roles".

Similarly, the smarmy plotter Don Gasparo was portrayed by tenor Eamon Pereyra, a tenor we have heard a couple times at ARE Opera. He was an excellent Rinuccio in Gianni Schicchi and merits further starring roles by dint of lovely tone which he seemingly produces without any strain whatsoever.

It is rare that we hear an opera in which every single singer excels. Props to Maestro Chambers who is not only the Principal Conductor of New Amsterdam Opera but also its Artistic Director.  He has done impressive work with meager resources and we hope that our readers will help to remedy those meager resources with a handsome donation!

The orchestra responded well to his baton and from the very first ominous introduction in the lower strings, bursting into a tutti and then a flood of melody, we knew we were in good hands. We would like to single out the excellent Concertmaster Stephan Fillare, the superb first cello James Pedersen, the harpist Kathryn Sloat, and the organist Adam Nielsen, who added so much to the final scene in the monastery.

Furthermore, both male and female choruses sounded well-rehearsed and sang with clarity.

There are so many 19th c. tropes in this story--love triangles, Kings losing love, double standards for women, the religious life as sanctuary for those disappointed in love and by life, the battle between Church and State, and tragic endings. The characters are larger than life and the stories involve great passions. No wonder we prefer them to contemporary operas! These stories inspired great music.  If we wanted to call attention to every aria, duet, and ensemble that touched our heart last night, we would be writing until next Monday.

(c) meche kroop

LOVE FOR L'ELISIR

Christine Lyons telling the tale of Tristan and Isolde

Xiaomeng Zhang enlisting Charles Sy into the military

ARE Opera was founded just a year and a half ago by Megan Gillis and Kathleen Spencer, two singers who want to make opera Accessible, Relatable, and Enjoyable. So far, they have succeeded admirably.

They have chosen their productions wisely and cast them with talented young singers. They stage them in ways that are up front and personal so that audience members feel involved.  At one point Nemorino sat down in one of the very few empty seats in the house, right next to ours, and we almost put an arm around him to give him some encouragement in his struggle to win Adina's affection.  Now that's personal!

The proof of the pudding is in the audience reaction. At a few points we tore our attention away from the performers to glance at the audience and what we saw was glee and rapt involvement. The "newbie" we invited was delighted with the experience and full of questions and observations.

Let us take a closer look at what makes this production such a delight.  Of course, Donizetti's sparkling and tuneful music, played by pianist Andrew Sun (who is also Chorus Master), is at the foundation. Felice Romani's charming libretto is, well, felicitous! It allows the audience to identify with the underdog Nemorino (little worm) who is too shy and lacking in self-confidence to win the love of the landowner Adina, apparently the only literate person in her village.

Director Jessica Harika has wisely kept the action in the right time and place--a small village in the 19th c. She has added some pantomime to the overture showing us the two almost-lovers as children (Angel Figueroa and Alexa Sternchos) manifesting youthful crushes, their interaction giving us some backstory. She has credited Dean Anthony with the concept.

All of this excellent foundation laid the groundwork for some excellent performances. As Nemorino,  Charles Sy exhibited a rich but flexible tenor that grew in impact from his opening aria "Quanto è bella, quanto è cara" to his final "Una furtiva lagrima". We have heard Mr. Sy often in recital but it was a revelation to witness his dramatic prowess. He created a character that we cared about. We could laugh at him without looking down on him. He was funny in his gullibility and ignorance, but did not ever invite scorn.

As Adina, the proud object of his romantic longing, soprano Christine Lyons was given reason to reject him, dating back to their childhood experiences. Her lustrous soprano won us over from the start as she read to the villagers in her aria "Della crudele Isotta". At the end she has trouble actually declaring her love in "Prendi, per me sei libero"-- until Nemorino actually forces her hand. Although Donizetti has written some fabulous fioritura, for Adina he has given us just enough embellishment to add to her emotional range-- and enough to show us what Ms. Lyons is capable of.

The role of Sergeant Belcore is an interesting one. He must be a "player" with a macho show of arrogance and yet be more than a tool for Adina to make Nemorino jealous. We sense his humanity underneath the bravado. Here, baritone Xiaomeng Zhang, whose work we have enjoyed on many occasions, lent his expansive and resonant instrument to the portrayal and gave us a highly memorable performance. His delivery of "Come Paride vezzoso" was masterful and we loved the moment when he comments on helping his rival to succeed.

The lovable snake oil salesman Dulcamara was given a fine performance by bass-baritone Brent Hetherington who was just right for the part. His patter song, promising the naive villagers a cure for all their ills, is always a highlight--"Udite, udite, o rustici". Donizetti wisely gave Dulcamara a clever and tuneful duet with Adina  "Io son ricco e tu sei bella" and we have never seen it better performed.

Mezzo-soprano Rachel Arky made a fine Gianetta and the chorus was marvelously together, showing evidence of fine guidance by Mr. Sun and some substantial rehearsal time. Maestro Jonathan Heaney's conducting was as excellent as Mr. Sun's piano. We wondered if we were hearing Richard Wagner's piano reduction but there was no mention in the program. The costumes by Wardrobe Witchery were perfectly a propos with Dulcamara's plaid suit winning the prize for being the most colorful.

His entrance was marked by offstage trumpet and snare drum, played by Mitchell Curry whilst the lovely mezzo-soprano Alanna Fraize performed the role of Dulcamara's assistant, miming the trumpet playing--a moment the audience loved.

There will be two more performances at St. Veronica's church on Christopher Street--tonight and Sunday matinée. You could not find better lighthearted yet deeply enjoyable entertainment.

(c) meche kroop

MAD FOR THE MAD SCENE

Soprano Brenda Rae as Lucia and Santa Fe Apprentices in Donizetti's Lucia de Lamermoor (photo by Ken Howard)

Another brilliant evening at the Santa Fe Opera brought to us another compelling heroine--the fragile and vulnerable Lucia portrayed by the brilliant soprano Brenda Rae who impressed us four years ago as Violetta. What a stunning contrast with last night's Alcina, a heroine who is manipulative and deceitful! Lucia is a an unfortunate young woman who wants nothing more than to wed her beloved Edgardo, sung by terrific tenor Mario Chang who has also impressed us in the past five years since we began writing  www.vocedimeche.reviews. Mr. Chang made an exceptional Edgardo, gathering impact as the evening progressed. His final scene was heartbreaking.

In Salvadore Cammarano's libretto, based on a work by Sir Walter Scott, poor Lucia is thwarted by her desperate brother Enrico, whose political future, and perhaps his life, hang upon his establishing a relationship with Lord Arturo Bucklaw; Baritone Zachary Nelson (about whom we have also been writing for about five years) lent his forceful stage presence and rich voice to the role. Lucia becomes a pawn in this political intrigue and is manipulated into signing a contract of marriage with Lord Bucklaw, here portrayed by a promising member of the Apprentice Program--Carlos Santelli, who has a pleasing, if somewhat covered sound. 

Obviously, this cannot end well! Indeed, by the end of the opera, Lucia has died of a broken heart, Arturo has been murdered on his wedding night, Edgardo commits suicide by grabbing Enrico's dagger, and Enrico will probably suffer the ignominious defeat of one who falls out of favor with the court.

What makes Gaetano Donizetti's opera such a favorite is the theme of a woman's suffering at the hands of men, the torrent of tunes that fell from Donizetti's pen, and the opportunity to hear a favorite soprano unravel to the accompaniment of the eerie sound of a glass harmonica, here played by international expert Friedrich Heinrich Kern. (Thanks Benjamin Franklin for this amazing invention!) The lengthy mad scene requires the casting of a soprano of prodigious coloratura skills-- but the rest of the opera requires her to arouse our sympathy. To this end, Ms. Rae succeeded admirably on both counts. It was a riveting performance that completely deserved the standing ovation at the end of the performance.

Also notable was bass-baritone Christian Van Horn as Raimondo the Chaplain and apprentice Stephen Martin as Normanno, Captain of the Guard, who takes the rap for Lucia's death by virtue of having exposed her illicit romance with Edgardo of Ravenswood, her brother's arch enemy.

One of the great pleasures of the Santa Fe Opera is witnessing the rise of the apprentice singers. Mezzo-soprano Sarah Coit captured our notice when she sang the role of Laurene Jobs in a preview of The (R)Evolution of Steve Jobs which we attended in NYC at Works and Process at the Guggenheim Museum.  Last night she sang the role of Lucia's companion Alisa and she sang it with superb vocal resources and appropriate deference to Ms. Rae.

Maestro Corrado Rovaris, a notable bel canto expert, led the Santa Fe Opera Orchestra which sounded superb, as always. We thought that his somewhat accelerated tempi for the first act was a double-edged sword: on the one hand, it increased the sense of urgency in the plot; on the other hand, we missed the sense of spaciousness he provided for the singers in the second act.

All of the singers impressed us with their musicality of phrasing; the variations of dynamics and tempi as well as vocal coloration indicated the presence of true artistry. The vocal blending in the sextet (when Edgardo crashes the wedding celebration) could not have been better and was second only to the mad scene in its ability to astonish us with the writing of Donizetti and the performances of the singers.

Also noteworthy were the confrontational duets between Mr. Nelson and Mr. Chang--two powerful artists matching artistry with equivalent artistry.

Director Ron Daniels went for a minimalist approach, such a contrast with last night's overcooked Alcina. He set the opera at the time Donizetti composed it--thankfully not in contemporary times. The principals seemed well directed toward sustaining dramatic verisimilitude but the chorus seemed static, standing in rows and moving rather mechanically and in unison. We take issue with Lucia visiting her brother in his bedroom; it just seemed inappropriately informal. And it bothered us that Lucia's hallucinations were invisible to the audience whilst Edgardo's dying hallucination was presented onstage.  However, it was indeed a gorgeous image of Ms. Rae looking pure and heavenly!

The chorus, comprising the Santa Fe Apprentices and under the fine direction of Susanne Sheston, sang with similar superb musicianship and well-defined diction. We expect no less!

Riccardo Hernandez' set design was also minimalistic. The walls and ceiling comprised square panels done in skewed perspective that emphasized the feeling of claustrophobia that Lucia must have felt. The fateful fountain at which Lucia hallucinates a ghost was a fluorescent plastic tub of water. There was nothing great about the great hall in which the wedding ceremony took place. Edgardo's room was nothing but a chair and tiny table with a lamp. This simplicity is not a bad thing but another double-edged sword in that it allowed us to focus more on the performances than on the background.

Peter Negrini's projections overlay the walls with images of forests. Effective lighting was by Christopher Akerlind.

Emily Rebholz' costume design worked very well for the women who wore muted ball gowns to the wedding, as one would expect among the Scottish aristocracy. But the men at the ball were dressed in white tie and tails and not sporting kilts or the colors of their clan, which we have come to expect. The men looked more authentic in the first act, wearing dark clothes trimmed in fur.

The ball scene also included some dancing, choreographed by Zack Winokur, which was vaguely "folk" but markedly un-Scottish.

We left at the end of the opera feeling fulfilled on all counts, but especially that of witnessing the success of former apprentices.  We hope to find Ms. Coit, Mr. Santelli, and Mr. Martin following in their footsteps within the next five years!

(c) meche kroop

OLD MEN NEED LOVE TOO

Cast of Don Pasquale at Manhattan School of Music

Although it is reasonably well accepted in our culture that old men can marry trophy wives, especially if they have ample financial assets, society was rather cruel to such men in the 19th c. Donizetti's comic opera Don Pasquale boasts as its theme the humiliation of just such a fellow at the hands of his rebellious and disinherited nephew and his very own doctor, who play on him a very dirty trick.

The part of the eponymous hero must evoke humor but also sympathy and yesterday, at Manhattan School of Music, Thomas Muraco--conductor and coach--led an ensemble production that admirably realized the spirit of the piece.

Gaetano Donizetti composed this comic masterpiece toward the end of his life and it was his last major success.  Due to the ravages of syphilis, his health declined and he would be dead within five years from the 1843 premiere in Paris. Although the libretto is attributed to Giovanni Ruffini, it is widely believed that Donizetti's contributions were so insistent that Ruffini removed his name from the score.

What is important about this fact is the enormous humanity with which the characters are invested. They derive from the stock characters of the commedia del'arte but are far more well-rounded. Don Pasquale derives from Pantalone the foolish old man (as did Don Bartolo in Rossini's Il Barbiere di Siviglia). 

It was a triumph of acting and singing that Hidenori Inoue, who is nothing if not young and handsome, was able to convince as the titular character. He submerged himself in the performance and sang with a rich, full, and mature bass that hints at a wonderful future in this fach. His mastery of "patter" was exceptional. Alongside his foolish attempt to get even with his rebellious nephew was a generosity of spirit which readily forgave his tormentors. Still, we loved his rage aria "Aspetta, aspect, cara sposina".

Dottore Malatesta derives from the wily character Scapino in commedia del'arte, similar to Figaro in Il Barbiere di Siviglia.  Justin Austin's interpretation was filled with the sparkle of fun. Not just shaming his patient, he was also trying to help the young lovers Ernesto and Norina. He forged a complicated plan, setting up a sham marriage with his convent-bred "sister" Sofronia who would appear to be modest and shy and then, after the marriage, reveal herself to be nasty, greedy and controlling. (Was Donizetti commenting on wives in general???)

Mr. Austin has a lovely warm instrument and fine phrasing, as well as highly developed comic instincts. He too handled the "patter" remarkably well and had a fine duet with Mr. Inoue. We especially enjoyed his "Bella siccome un angelo".

In an interesting coincidence, the role of "Sofronia" his sister was played by his wife Amanda Austin. (The two of them met studying voice at Manhattan School of Music. Sometimes truth is better, if not stranger, than fiction.)  Ms. Austin made a superlative Norina, representing the willful Columbina character of commedia del'arte--much like Rosina in Il Barbiere di Siviglia.

She has a luminous presence and an impressive facility in the bel canto style with a memorable trill in her satchel of skills. Donizetti asks her to slap Don Pasquale as part of her making "Sofronia" detestable and this is the point in the opera where one feels pity for the object of everyone's deceit.

Ernesto is the lovesick nephew--analogous to the Pierrot character of commedia del'arte --and Timothy Lanigan sang with a fine lyric tenor that opened up beautifully by Act II. By the time he met up with Norina in the garden in Act III, the "Com'e gentil" could melt anyone's heart. His serenade was accompanied by a pair of guitars perfectly plucked by Diego Fernandez Arraya and Joseph Douglass.

At this point we must mention the well-rehearsed chorus whose collective diction made sure that not a syllable was lost.  One rarely hears an operatic chorus this lucid. Stefano Baldasseroni was the Italian Diction Coach and can take much of the credit, since everyone's Italian was perfect.

Yonghyun Kim added to the fun as the false notary called to record the sham marriage.

The orchestral score was reduced for two pianos by Mr. Muraco and the pianists themselves.  We heard Jiwon Byun and Jia Jun Hong. We never missed the orchestra and could even hear threads of voices that can get lost in the carpet of orchestral sound.

The overture was particularly well done with melodies anticipating what one would subsequently hear. The trumpet solo was happily preserved and well played by Imani Duhe.

As is always the case with Mr. Muraco's Opera Repertoire Ensemble, the audience is assured of a good time and the cast appears to have mastered a true ensemble feel and superb stagecraft, witness the well-balanced duets, trios and ensembles.

Had we been free, we would very much have wanted to hear the cast Friday night.  Alas, we were not free but they were probably just as excellent.

Settings were minimal and costuming was contemporary. Nothing more was needed

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DONIZETTI DISCOVERY

Italo Marchini, Aaron Blake, Angela Meade, Eve Queler, Yunpeng Wang, Sava Vemic, and Mia Pafumi

We gave away the plot to Donizetti's rarely performed 1833 opera Parisina d'Este in last months's archived review (COVERS UNCOVERED) when the cover cast for Opera Orchestra of New York treated us to excerpts from the opera. We were enthralled and bursting with anticipation for Maestro Eve Queler's conducting of the entire opera. Last night at the Rose Theater, our hopes were completely fulfilled.

As a matter of fact, this opera goes on our wish list as one we'd love to see tackled by The Metropolitan Opera. During this concert version, we saw the entire opera in our head--sets and costumes included. 

The flow of the music and the complete involvement of the singers succeeded admirably in evoking the story--a typical 19th c. melodrama which librettist Felice Romani adapted from a poem by Lord Byron.

The tale moves forward without any distracting side plots. The characters are sympathetic and victims of their time (15th c.), place (Ferrara) and culture (arranged marriages). Duke Azzo and his wife Parisina are both miserable and political triumphs cannot relieve the gloom of the court.

Yunpeng Wang established his character (Duke Azzo) from the very start. He is madly in love with his wife who does not love him. Although it is difficult to forgive his behavior at the end of the opera, Mr. Wang's gorgeous baritone and warmth let us feel Azzo's pain. His duet with his minister Ernesto was nothing short of sumptuous. And to hear him change vocal coloration when he sang about battles was most impressive.

Sava Vemić's youthful appearance did not prevent him from creating a believable character who is both a loyal minister and a loving father trying to save his son from danger. Mr. Vemić's rich bass filled the theater and thrilled the ear. His character has the big "reveal" at the climax of the opera.

As the son Ugo, tenor Aaron Blake overcame some early problems with intonation to deliver a beautifully sung and well-phrased performance. Ugo is a man so obsessed with his childhood sweetheart, who now belongs to another, that he cannot preserve his own life.

Soprano Angela Meade gave a riveting performance as the eponymous Parisina, married to the Duke but in love with Ugo. In this opera, Donizetti eschewed lavish fioritura, but what embellishments there were to the vocal line were beautifully negotiated.

As Imelda, Parisina's confidant, soprano Mia Pafumi looked and sounded beautiful. Her duet with Ms. Meade was movingly tender.

Under Maestro Queler's baton, The Opera Orchestra of New York played Donizetti's profusion of melody with the excellence we have come to expect of them-- minus a recalcitrant trumpet. We heard foreshadowing of music from Lucia di Lammermoor, which he would write two years later, and echoes of "The Senator Song" from L'Elisir d'Amore, which he had written the year before. 

In Parisina, Donizetti relied heavily on the wind sections and Maestro Queler brought out every line. Perhaps (dare we say it??) the Rose Theater offers some acoustic advantage over Carnegie Hall. (Gulp!)

The New York Choral Ensemble, under the leadership of Italo Marchini, commented on the action and filled in the narrative. As all good choruses must, they made their words count.

With such high quality conducting, playing, and singing, we would count this as one of the highlights of the season.

Maestro Queler conducted this once before with Montserrat Caballé, James Morris, and Luis Quilico over 40 years ago. It is difficult to believe that this energetic youthful conductor has been around that long. We hope we won't have to wait that long to hear this wonderful opera again!

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COMMEDIA DELL'ARTE LIVES ON

The cast of DIVAria Productions'  Don Pasquale

This is the third time we have had the pleasure of reviewing a DIVAria production and we left thinking that with directors like Anton Armendariz Diaz on "team opera", we do not have to worry about opera's future. 

Yes, we know that The Metropolitan Opera is trashing its beloved productions and losing subscribers en masse.  Yes, we know that the reborn New York City Opera is floundering due to poor artistic choices and inadequate marketing. Yes, we know that DiCapo Opera went under.  But, big but here, New York is replete with small companies that are redefining opera for new audiences with fresh ideas and presenting them in unexpected venues.

Last night we attended a production of Donizetti's 1843 opera buffa Don Pasquale that had excellent musical values and high spirits to spare, delighting the youthful audience and this reviewer.  Musical Director Fabio Bezuti performed at the piano in a reduced score which included two violins and a cello. The small group captured all of Donizetti's effervescence right from the overture.

Mr. Diaz' direction went a long way toward making up for the lack of titles. With our minimal Italian vocabulary and the dramatic skills of the cast, we knew exactly what was happening. Additionally, there was a narrator invented by Mr. Diaz with dialogue written by himself and Andrew Bell. This was no ordinary narrator but the chief servant in Don Pasquale's home who gossiped about the crazy situation and filled in the points of the plot. This non-singing role was taken by Christen Mathern who did a swell job.

The singing was uniformly up to snuff. Arias, duets, trios and quartets all came off well. Voices were well balanced in every case.

In the title role we had Jorge Ocasio whose resonant bass and fine comic timing excelled. His interpretation of the role was short on "nasty" and "pathetic", rather evoking sympathy for this poor old man who wants to recapture his youth by marrying a young woman. In an invented scene, choreographer Jody Oberfelder had him dancing in fantasy with a quartet of young women in poodle skirts, emphasizing the memories an old man would have of his youth. His performance was the very embodiment of Pantalone.

As Norina, Ashley Bell sang with bright coloratura.  This is the third time we have reviewed her performances and remain impressed. In keeping with the commedia dell'arte origins of the libretto, the acting was over the top. In a plot to get around the "foolish old man" character, she is obliged to masquerade as Sofronia, a shy convent girl who changes into a hellion once the marriage contract is signed. Ms. Bell handled the transformation well with some help by costume changes. She was the embodiment of the wily Columbina.

The "Scapino" role of Dr. Malatesta was wonderfully sung and acted by baritone Jim Wright who conveyed chicanery to spare, and the "Pierrot" role of Ernesto, Don Pasquale's nephew, was well sung by tenor David Guzman. This scheming trio treated Don P. so badly that our sympathies were shifted toward the poor old man.

The original 19th c. librettist Giovanni Ruffini removed his name from the score, so distressed was he by Donizetti's dominance. But the story is a variation of a story dating back to 16th c. Italy and associated with carnevale. And so, in keeping with tradition, Mr. Diaz has interpreted the tale in his own fashion. That it spoke to our need to see ourselves in all of our clichéd glory was made evident by the abundant laughter and applause.

Aren't we all a bit foolish? a bit devious? a bit gullible?

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DONIZETTI UNEARTHED

Robert Garner as Severo and Sara Beth Pearson as Paolina in Donizetti's Poliuto at Amore Opera

 

 

We love Donizetti for his melodic bel canto writing and we love Amore Opera for unearthing one of his rarely performed tragic operas. Donizetti's music is always kind to our ears, whether it is underscoring a frothy comedy or a serious tragedy. If one doesn't care for the story, one can always revel in the music.

The libretto for his Poliuto was written by Salvatore Cammarano, loosely based on Pierre Corneille's tragic 1640 play Polyeucte. The birth of the opera was a difficult one: problems with censorship by the Catholic King of the Kingdom of the Two Sicilies, rewriting for the Opera Francaise, translating that into Italian, and the suicide of the tenor.

The story has significant resonances today. In third century Armenia, the ruling Romans saw Christianity as a threat to be eliminated. Christians met secretly in caves to hold their baptismal ceremonies. (Indeed, we once crawled into caves in Central Turkey where Christians lived and worshipped in secret.) Today Christianity is an accepted and prominent world religion with some members who would like to annhililate other religions. It seems like just another manifestation of  "My God is the right one.  Yours is the wrong one." Will mankind ever learn?

It would be fair to say that the story is distasteful to us. We don't understand martyrdom or the belief that all will be remedied in some mythical paradise after death.  All we could think of was the current plague of suicide bombers.  In Poliuto, at the end, the heroine joins her husband in just this sort of death without regard to the effect on her father.

Paolina was in love with the Roman Proconsul Severo. Believing him dead, she married Poliuto. He is jealous and mistrustful and a convert to Christianity without being aware that his jealousy and pride are "sinful" by their standards.

Severo shows up very much alive and she resists his blandishments. Misled by Callistene, the evil High Priest of Jupiter, Poliuto believes her to be unfaithful and pridefully resists all her claims of innocence.

Nearco, Poliuto's friend and leader of the growing Christian sect of Armenia, refuses to name him to the authorities but the "noble" Poliuto turns himself in, happily martyring himself, looking forward to his salvation in heaven.

Paolino insists on joining him although Severo does everything to prevent her. The martyrs get thrown to the lions.  And that's that.

But what marvelous melodies we heard, conducted by Daniele Tirilli! This is Donizetti at the top of his game. Even the overture offers one beautiful theme after another--an opening mournful one, then an urgent propulsive one, then a lively martial one.  The opening chorus of Christians filled the theater at the Sheen Center with harmonies.

Soprano Sara Beth Pearson made a splendid Paolina, singing with a substantial sound that was also flexible and just right for the fioritura. Her acting skills matched her singing, as she slowly became enchanted with Christianity. We loved her aria "Di quai soave lagrime, aspersa è la mia gota "
Baritone Robert Garner continues to impress us with his full-throated singing and convincing acting. He actually made us feel sympathy for Severo by showing many dimensions to his character. We liked his tender love aria "Di tua beltade imagine è questo sol ch'io miro ".

Tenor Lindell Carter seemed not quite comfortable in the title role, as evidenced by some mugging and wide-eyed staring.

Tenor Michael Celentano made a fine Nearco while tenor Douglas McDonnell handled the small role of Felice with fatherly grace.

Bass Jay Gould made a formidable Callistene, the man we love to hate.

Christians were portrayed by Daniel Kerr, James Stephen Longo, and Ruben Navarro.

The direction by Nathan Hull was straightforward, as we prefer. When the two major players of a company (Mr. Hull and Maestro Tirilli) have sung opera, you can rest assured that the singers will come first. No one was put in a physically or vocally threatening position. This is something we truly appreciate.

Costumes by Amy Leubke were elegant and colorful, appearing appropriate to the period. Simple painted sets by Richard Cerullo served their purpose.

Special mention must be made of the fine chorus who added so much to the proceedings, thanks to Chorus Manager Janet Johnson. The opera contains several choral pieces, often augmenting the ensemble writing at the conclusion of a scene.

We may never get to hear this wonderful piece again and were so happy to have had the opportunity. Thanks Amore Opera for unearthing this buried treasure.

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LUCIA!

Jamilyn Manning-White (photo by Russ Rowland)

There is a very fine line between bringing new insights to a work from the 19th c. and trashing it. We are pleased to report that Heartbeat Opera, one of our favorite small opera companies,  belongs to the former category.  Last night we marveled at the insightful adaptation of Donizetti's masterpiece Lucia di Lammermoor. More than an adaptation, we consider it a distillation of the essence of Salvadore Cammarano's libretto and a superb introduction to the opera.

The house was packed for opening night of the festival which includes lots of goodies, as you may learn on their website, www.heartbeatopera.org. It did our heart good to see an audience of 20-somethings thrilling to Donizetti's score in a unique arrangement by Daniel Schlosberg featuring a string quartet, guitar, clarinet, and some dazzling percussion by wizard Bill Solomon.

As directed by Louisa Proske (Co-Artistic Director of Heartbeat Opera), crucial scenes of the story are presented as flashbacks or fantasies of the poor heroine who appears in a hospital bed, struggling against her restraints.  Her reality appears upstage behind a sheer curtain with the memories taking place downstage.

All the crucial scenes were there. We loved the scene taking place at the fountain between Lucia and her friend Alisa in which Lucia frightens Alisa with her ghost story.  One can already see the unbalanced nature that will be pushed over the edge by the manipulations of her brother Enrico; he has been alerted by his captain of the guard Normanno of her secret rendez-vous with Enrico's enemy Edgardo.  Her only supporter is Raimondo, the family confessor, but he too has been deceived and abandons her to a forced marriage with Arturo, chosen for political reasons.

As the eponymous heroine, one could not ask for a better interpreter than Jamilyn Manning-White whose prodigious skills with the fioritura of the bel canto period were matched by her dramatic artistry. Our heart broke for this victim of male privilege.

Tenor David Guzman made a fine romantic partner as Edgardo; baritone Matthew Singer conveyed all the brutality of a selfish brother whose deviousness was informed by political desperation. John Taylor Ward was effective as Raimondo and Monica Soto-Gil made an excellent impression as Lucia's friend Alisa.

Maestro Schlosberg conducted from the piano and his arrangement brought out many interesting voices in the score. We were particularly taken by the wizardry of percussionist Bill Solomon who created sounds to rival that of the glass harmonica one never gets to hear.

Scenic Designer Reid Thompson did much with little.  Costumes by Beth Goldenberg were contemporary.

Although the two operas of the festival were presented sequentially on opening night, the rest of the week permits one to see just one at a time. We wish we could be as enthusiastic about Henry Purcell's Dido and Aeneas but we cannot. The baroque music was gorgeous. Carla Jablonski's Dido sang beautifully. John Taylor Ward's Aeneas fulfilled the promise of his smaller role in Lucia.

However, the English diction was so poor, especially on the part of the women singers, that we felt we were hearing an opera in a language with which we were only slightly familiar.  It was like listening to Russian and recognizing a word here and there.

Nothing about the story was illuminated and the bizarre movements made no sense to us. We sat there totally baffled by the storytelling. There were so-called witches and sorceresses waving branches, occupying a bathtub and masturbating against push-brooms.  This didn't add up to anything meaningful.  Only "Dido's Lament" at the conclusion was meaningful.  We just couldn't figure out what director Ethan Heard (Co-Artistic Director) was going for.

So...we give an unqualified YEA to Lucia and a NAY to Dido. See it at your own risk!

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BLISSED OUT!

Lachlan Glen and Ben Bliss

It would take a far better writer than we are to fully convey the impact of yesterday's lieder recital. The word that comes to mind is gifting. Carnegie Hall's program of Neighborhood Recitals is a gift to the community and Mr. Bliss and Mr. Glen gifted the audience. Both gifts were majorly appreciated.

We could walk through the Metropolitan Museum of Art, filled with valuable paintings and stop, arrested, in front of one that captivates us completely.  Is it the subject matter?  The colors? The way one's eye is pulled across the canvas? The technique of the application of paint? Inexplicably the eyes mist over. They are not tears of sorrow and not quite tears of joy.  Perhaps they are tears of awe and appreciation for beauty and all that went on in the heart and soul of the artist who produced it.

That is how we felt at Carnegie Hall's Neighborhood Recital at St. Michael's Church, produced as part of the Marilyn Horne Legacy. We were "stirred and shaken", in awe of such talent belonging to two exemplary artists in the early stages of major careers. 

Mr. Bliss' incredible artistry has already been recognized by The Metropolitan Opera (Belmonte in Die Entführung aus dem Serail) and the LA Opera (Tamino in Die Zauberflöte). His gentle tenor caresses the ear; his impeccable phrasing makes emotional sense out of whatever he sings; his diction ensures that titles are superfluous.

Mr. Glen has prodigious skills as a pianist with his fingers flying over the keys. On top of that his artistry as a collaborative pianist is legendary. He breathes along with the singer, always supporting and never stealing the show, although he easily could. He is already a successful recording artist.

Together, they were even greater than the sum of their parts and held us in their spell by means of their partnership. Whether the result was achieved by a great deal of practice or by instinctual connection we know not.  But we certainly felt it.

In everything they performed, we sensed a deeply felt connection with the material, which was effectively transmitted to the audience. The program opened with Ottorino Respighi's "Pioggia" in which Mr. Glen's piano produced the raindrops and Mr. Bliss' voice had us inhaling the scent of nature refreshed. Similarly, Respighi's "Nebbie" filled us with the coldness and loneliness of a barren landscape with Mr. Glen's decisive piano making significant contributions.

Three songs by Vincenzo Bellini delighted us: "Malinconia, ninfo gentile",  "Vanne, o rosa fortunata", and "Ma rendi pur contento". All were performed with full attention paid to Bellini's long melodic lines.

Of the four Benjamin Britten songs, we are happy to report that every word was understood, due to superlative English diction. We wish that were always the case but it is not to be taken for granted. We loved the charming "Sally in our Alley".

Two sonnets were performed: Britten's "Spirito ben nato" from Seven Sonnets of Michelangelo (noted for some lovely a capella phrases) and Franz Liszt's "Pace non trovo" from Tre sonetti di Petrarca. Having heard this a dozen times this year at various master classes, we thought we were tired of it.  But yesterday we seemed to be hearing it for the first time. The artists brought it to a thrilling dramatic climax.

Opera was not neglected. "Una furtiva lagrima" from Donizetti's L'Elisir d'Amore was absolutely stunning.  Never mind that we just heard it the night before! It was sung with depth and simplicity; the messa di voce at the end was exquisite.

A group of French songs by Henri Duparc and Ernest Chausson were beautifully performed with lovely long Gallic lines and not a whiff of effeteness.  Perhaps our favorite was Reynaldo Hahn's "L'heure exquise" with its delicate piano part and the vocal skips upward.

A prior reviewing commitment forced us to leave before the final set of songs. We hated missing any part of this recital. This is one recital that will remain in our memory.

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AN ELISIR TO LOVE

Sarah Moulton Faux and Aaron Blankfield

Amore Opera has found an excellent new home at the Sheen Center on Bleeker St. The small theater has a pit allowing the singers to project over the orchestra and is just the right size to permit a feeling of intimacy.  We are gratified that they have chosen Gaetano Donizetti to honor this season with one staple of the repertory and one rarely produced opera. Last night we had the pleasure of experiencing L’Elisir d’Amore up close and personal; next week we are looking forward to Poliuto, a drama about the 3rd century martyr. 

Donizetti is a melodist par excellence and he lavished his 1832 masterpiece L’Elisir d’Amore with a profusion of tunes that gladden the heart and touch the soul. Happily, his librettist Felice Romano adapted Augustin Eugène Scribe’s Le Philtre, a charming story with lovable characters. The setting is a small Italian village and the time has been updated to the early 20th c., which neither added new insights nor detracted from the story. (We have been terribly distressed by productions updated to the 20th c. because they just didn’t make sense.)

The production has been triple-cast and we very much enjoyed the cast we heard. We were quite impressed by Aaron Blankfield's performance as the timid lovesick Nemorino.  Not only did he exhibit a fine sweet tenor but he appeared to be drawing from someplace deep inside to create a most believable character whose ultimate success at love we wished to happen.  His “Una furtiva lagrima”, introduced by the most legato bassoon solo we have ever heard, was the epitome of soulfulness.

As Adina, the wealthy and educated landowner (here the owner of a bookshop), soprano Sarah Moulton Faux graced the stage with her beauty of form and voice. There was a bit of difficulty at the start getting the middle register to sail over the orchestra but that passed quickly and her brilliance with the coloratura passages was pure delight.

Baritone Gustavo Morales made an appropriately arrogant Sergeant Belcore, a rather ridiculous figure but ultimately a good-hearted chap and a gracious loser in the battle for Adina’s love.

As the traveling con man Dr. Dulcamara, we enjoyed the veteran performer Gary Giardina who really knows how to create a character. He arrived in high style and was accompanied by two lovely female assistants, Adrienne Chu and Angela Joy, whose antics were choreographed by Cara Chapman.

Merrin Lazyan sang the role of Giannetta while Marlene Williams filled several small roles. The chorus added greatly to the proceedings, especially the bumbling soldiers that did nothing to destroy the reputation carried by the Italian military. The children’s chorus fulfilled the adorable quotient.

Fine things happen when production personnel have experience in opera.  In this case, Stage Director (also Artistic Director) Nathan Hull and Conductor Daniele Tirilli both have backgrounds as opera singers and this clearly informed their performance of their tasks.

Maestro Tirilli’s conducting created plenty of room for the singers and Mr. Hull’s direction introduced lots of clever and original stage business that did not make the singers uncomfortable. (The Metropolitan Opera would do well to follow his example.) One touch we really liked was in the first scene when Nemorino is expressing his feelings for Adina; the action on stage froze as he enacted his fantasy of dancing with Adina.  This little twist was most touching. Another moment we cherished was the fumbling when Belcore is obliged to present Adina with flowers. 

Richard Cerullo's Scenic Design was simple but effective with a painted backdrop and two opposing shops between which was the village square, crowded with villagers. Simple costumes by Ghislaine Sabiti seemed appropriate to the early 20th c. 

But the most important thing for us was the singing and the lovely connection between Nemorino and Adina.  We were delighted that he overcame his faint heart and won the fair lady.

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WE DRANK IT AND FELL IN LOVE

Eunjin Jung, Kidon Choi, Pavel Sulyandziga, Sara Papini, Matthew Cossack

L'Elisir d'Amore is the perfect opera for a young cast. Gaetano Donizetti filled it to the brim with memorable melodies; librettist Felice Romani peopled it with characters that embody all the struggles of young love. Nemorino is a shy fellow in love with the vivacious and fickle Adina. She treats him dismissively as the young tend to do with those who put them on a pedestal.

To make him jealous she agrees to wed an arrogant army officer. In desperation, he buys a love potion from the traveling "doctor" Dulcamara. The potion is just Bordeaux and he gets very tipsy.  Meanwhile, the young ladies of the town learn that he has inherited a great deal of money and surround him with attention. He believes it's because of the love potion. Now it's Adina's turn to get jealous.

Of course, it all works out in the end and we leave the theater grinning from ear to ear.  The Mannes Opera gave Donizetti's 1832 comic masterpiece (which Donizetti tossed off in six weeks) a fine production at the Gerald W. Lynch Theater at John Jay College of Criminal Justice. This just happens to be a fine comfortable theater with great sight lines but there is something strange about it's bi-level orchestra pit.

The strings are just a bit lower than the audience, with the winds behind and a level below that. Artistic Director and Conductor Maestro Joseph Colaneri conducted The Mannes Orchestra which turned in a well-balanced performance. The strings lay down a luscious carpet of sound with important contributions from the winds, particularly in Nemorino's big aria "Una furtiva lagrima", marked by some lovely arpeggios on the harp (Elena Caramihai).

The singers are all graduate level students at Mannes School of Music, which is part of The New School. Each and every one turned in a stellar performance and seems headed for a fine future in the opera world. The lead couple--soprano Sara Papini as Adina and tenor Pavel Sulyandziga as Nemorino--were perfectly cast and completely convincing in their acting. Adina is spunky and full of personality; Nemorino is shy and unassuming. Their body language told a great deal about their characters.

Similarly, the outrageous character of Dr. Dulcamara was well portrayed by bass-baritone Kidon Choi who manifested no difficulty with the wide range. As the self-important Belcore, baritone Matthew Cossack was admirable. Eunjin Jung was a pert Giannetta.

The direction of Laura Alley kept things moving forward nicely with plenty of appropriate stage business. Costume Designer Helen E. Rodgers duplicated the fashions of the 50's quite accurately, even dressing Adina in a poodle skirt. But, may we ask, how does setting this opera in the 1950's make it more relevant? We wondered how many people in the audience were alive 60 years ago!

Instead of a wealthy landowner, Adina is now the proprietor of a pasticceria in Little Italy. Roger Hanna's painted set, representing a street corner, was so accurate that we recognized the locale! We are convinced he copied Caffé Roma on Broome St. (If we are wrong we will atone by eating a dozen sfogliatelle!)

The chorus sings about sitting in the shade near a stream!  Other references in the libretto have been mistranslated to allow for Dr. Dulcamara to be driving a "snazzy car". We could justify the presence of military personnel because the time period coincided with the Korean war. But how do we account for Sergeant Belcore carrying around enlistment papers in his pocket and paying cash to Nemorino to enlist? We suppose most people would just overlook these anachronisms but they do bother us, purists as we are. But they didn't bother us enough to spoil the fun.

Mr. Sulyandziga's "Una furtiva lagrima" was delivered with his hands in his pockets, every nuance coming strictly from his voice. Never have we ever wanted so much to see a guy get the girl!

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