ADULTING in the 19th century

Gabriella Reyes
(Photo by Ken Howard for Santa Fe Opera)

Vanessa Vasquez, Mario Chang, Will Liverman, Zachary Nelson, and Solomon Howard
(photo by Ken Howard for Santa Fe Opera)

In today's musical universe, it is rather common for contemporary operas to be praised by critics (not by us, to be sure) but abhorred by the opera going public. How interesting it is to us that Puccini's masterpiece La Bohême was adored by the public right from its premiere in Turin in 1896, yet strangely attacked by critics.

Today, we cannot imagine anyone finding fault with Puccini's melodies as they twine themselves around our hearts; nor do we find the libretto by Luigi Illica and Giuseppe Giacosa to be shocking or revolutionary. As a New Yorker, all it takes is a walk on the Lower East Side to see counterparts to the six young folk of the opera. Residing several to a room, scrounging meals, working day jobs to support themselves whilst they create art--all are features in common with the six young folk in the opera. Even Musetta has a counterpart among the young women who seek "arrangements".

The librettists wrote a somewhat romanticized version of the Bohemian lifestyle which the stories of Henri Murger presented in a more realistic fashion. This is a good thing because the carefree Mimi that Murger wrote about --who died alone in a hospital --might never have aroused our care and sympathy. As we  pointed out in our recent reviews, we need to connect with the lead characters and to see ourselves in them; we need to care what happens to them. The story is instrumental but it's the music inspired by the story that gives us the true operatic experience.

We have been looking forward for months to the production at Santa Fe Opera directed by one of our favorite directors--Mary Birnbaum. The cast is filled with familiar names --singers we have known and loved.

Take, for example, the radiant soprano Vanessa Vasquez who has won prizes at countless competitions singing Puccini; we have written many times about her glorious soprano and her convincing acting. Last night she gave the audience a memorable Mimi, perhaps a bit closer to Murger's Mimi than we usually see; she gave the impression of having had her eye on Rodolfo and was just waiting for an opportunity to connect with him.

As Rodolfo we heard the excellent tenor Mario Chang whose sweet vocal colors were just right for the role, although a bit on the soft side. We particularly loved the Act III duet "Senza rancor" in which the lovers go through several emotions, reminiscing about their lives together. We confess to being relieved when they decided to spend the rest of the winter together, even though we know the rest of the story more than well enough. We have been writing about Mr. Chang for years and still recall some noteworthy performances in the Lindemann Program of the Metropolitan Opera.

As Musetta, we heard Gabriella Reyes, another superb soprano who shared the stage with Ms. Vaquez at the Met National Council Finals. We recall her lovely "Il est doux, il est bon" from Massenet's Hérodiade, and an aria from Daniel Catan's Florencia en el Amazona. We had the pleasure of reviewing her excellent performances as a singer with the Lindemann Program, the most memorable of which, for us, was her singing in Spanish-- above all in zarzuela. Last night she showed her versatility, singing and acting up a storm; she showed very different vocal colors in her showpiece aria "Quando m'en vo" in Act II, and a far more tender side in Act IV.

Brilliant baritone Zachary Nelson admirably fulfilled the role of the painter Marcello, besotted with the mercurial Musetta. We particularly enjoyed his interaction with Mimi in Act III. Mr. Nelson has a long-standing relationship with the Santa Fe Opera and was first heard as an Apprentice a number of years ago. It delights us that his artistry was noted and developed.

Baritone Will Liverman made a fine Schaunard. We loved the part in Act I when he tells the captivating story of the poisoned parrot, and his three friends, distracted by the food and wine he has brought, pay absolutely no attention. Since hearing Mr. Liverman as an award winner with Opera Index, we have followed his promising career with interest. There have been awards and recitals aplenty but what we recall best is that he introduced us to two operas we'd never heard--Albert Lortzing's 1842 comic opera Der Wildschütz, and Nikolai Rimsky-Korsakov's The Tsar's Bride.

This is only the third time we have heard the booming bass of Soloman Howard; once was as the Bonze in Puccini's Madama Butterfly and the other was as the Commendatore in Mozart's Don Giovanni; both performances at the Santa Fe Opera. We were quite impressed with the depth of his sound and by his compelling stage presence. Our favorable impression was ratified by his performance as Colline. His "Vecchia zimarra" was beautifully rendered; it is a real heartbreaker as we in the audience realize that the coat he is parting with is symbolic of the carefree days of youth.

Veteran bass-baritone Dale Travis could not have been better as the landlord Benoit, getting tipsy with his delinquent bohemian tenants, and as the much put upon Alcindoro, Musetta's latest "patron".

Santa Fe Apprentices filled the stage in Act II and three of them filled small roles--Elliott Paige as the toy-seller Parpignol, Jarrett Logan Porter and Seungyun Kim as Customs Officers.

Maestro Jader Bignamini led the Santa Fe Opera Orchestra through their Puccini paces and brought out every theme as it recurred in different guises. He brought a lively tempo to the horseplay in Act I and a slow heartbreaking tempo to Act IV. 

Director Mary Birnbaum wisely did not alter the time or place of the opera and gave us a fairly traditional production with a few novel flourishes. We were surprised in Act I when Mimi made the move on Rodolfo. Our only moment of disbelief was when Mimi asks Rodolfo to stop something when he wasn't doing anything!

It was a novel idea to have the Parisian folk ice-skating (actually on roller blades which looked like ice skates) and it's a wonder that Ms. Reyes did a creditable job.

It was also a novel idea to have Musetta very very pregnant in Act IV. We don't think it added to the story.

Grace Laubacher's set was effective. The garret had a sloping roof made of leaded glass and was set in front of a backdrop of typical French buildings off in the distance. The tavern in Act III (humorously called "La Mer Rouge"--recalling the panting Marcello was working on) was realistic; in the transition to Act IV, it was turned inside out to become the aforementioned garret.

Camellia Koo's costumes worked well. The bourgeois citizens of Paris were dressed in colorful typical early 19th c. costumes. The "bohemians" were notably dressed differently. In Act II, Musetta appears in a shocking pink jumpsuit and in Act III, she is wearing a man's suit. But isn't that what young artistic folk do in every generation?

This is a story of "adulting"; the lives of the surviving characters will be forever changed. It is a mark of a production's success when we care!

(c) meche kroop

POVERA BUTTERFLY

Ana Maria Martinez and Joshua Guerrero in the final scene of Madama Butterfly at the Santa Fe Opera
(photo by Ken Howard for Santa Fe Opera)

We have been known to get a bit moist in the eye at the opera, but the last time we were reduced to bawling like a baby was in 2010 when Santa Fe Opera mounted Lee Blakeley's production  of Madama Butterfly. The tall and handsome tenor Brandon Jovanovich towered over the tiny soprano Kelly Kaduce, emphasizing the total imbalance of power in this exploitative relationship between an arrogant American naval lieutenant and an innocent and deluded 15-year-old Japanese geisha. Last night we saw a revival of this production, astutely directed by Matthew Ozawa and we completely "lost it".

With eight years of additional opera going experience, we realized that it was not only the terrific performances that produced such grief but Puccini's music, so affectingly played by the Santa Fe Orchestra under the baton of Maestro John Fiore. The program indicates that we are seeing the Brescia version but we thought we were hearing Puccini's original 1904 version, the La Scala premiere of which was considered so unsuccessful that Puccini revised the opera in many respects. Indeed, there are five iterations extant, but this one is, in our opinion, the most powerful.

Librettists Luigi Illica and Giuseppe Giacosa pulled no punches in their depiction of an arrogant sexist American lieutenant, here performed by tenor Joshua Guerrero. He made his character so loathsome that he was booed at the curtain call. There was no doubt that it was the character being booed, and not the performance, which was marked by fine Italianate phrasing and topnotch acting. His "Addio, fiorito asil" was gorgeously sung; if it was meant to evoke sympathy for his remorse, it failed. This character is totally involved with himself and his own feelings with little concern for his abandoned bride.

The role of Cio-Cio-San was magnificently performed by soprano Ana Maria Martinez whose "Un bel di vedremo" deserved all the applause it received. Ms. Martinez is not all that shorter than Mr. Guerrero; nonetheless, her acting achieved the same result as in the benchmark performance that affected us so greatly eight years ago. Some interesting directorial touches evoked the thought that Butterfly's suicide not only represented "death with honor" but also could be perceived as an act of anger, what with all the violently overturned chairs. This amounts to a Westernized psychoanalytic view of suicide. 

Aside from the strength of the depiction of the characters, what makes this version so powerful is the elimination of the intermission between Act II and Act III. Instead, the audience has the opportunity to join Butterfly in the overnight vigil as she waits for Pinkerton. The melancholy "Humming Chorus" sets the stage for our emotional devastation. The feeling of dread mounted in our chest and we felt ourself trembling. The confrontation between Butterfly and the new Mrs. Pinkerton, ably enacted by mezzo-soprano Hannah Hagerty, added to the dread. The sight of little Trouble pointing his dagger at Pinkerton next to the body of his dead mother was one of the most chilling sights we have seen at the opera. His future seems like one more aspect of the tragedy.

Baritone Nicholas Pallesen had the good fortune to portray the wise and kindly U.S. Consul Sharpless. His voice was splendid and his dramatic portrayal was filled with appropriate gesture. The poor man was unable to convince Pinkerton to behave better; nor was he able to reason with Butterfly. We completely believed him in the role.

The other realist of the evening was Suzuki, Butterfly's servant, performed to perfection by the excellent mezzo-soprano Megan Marino. Suzuki knows the score but cannot get Butterfly to face reality. Her loyalty is above reproach and she endures a bit of abuse from the angry Butterfly.

Another powerful performance was that of the angry Bonze, realized by bass Soloman Howard who commanded the stage. Tenor Matthew DiBattista made a very slimy Goro. Baritone Kenneth Stavert played the role of Prince Yamadori without the customary excess of foolishness; this was a fine idea because it emphasized the idea that Butterfly's rejection was based upon her delusion that Pinkerton would return and resume their marriage, not on the idea that Yamadori was a poor choice.

We were delighted to see other Apprentice Singers onstage. Bass-baritone Erik van Heyningen made an excellent Imperial Commissioner, and bass Colin Ramsey was equally fine as the Registrar, both of whom officiated at the marriage. 

Maestro Fiore's conducting presented the music we know and love, along with some music that had been cut when Puccini revised the opera. Puccini successfully combined lyrical Western melodies with Asian folks songs. The chorus, under the direction of Susanne Sheston, sang beautifully and intelligibly, even when offstage.

The set design by Jean-Marc Puissant gave us every possible Japanese signifier including cherry blossoms, lanterns, and shoji panels for Butterfly's home. During the overture, the house itself took shape as panels were carried on and installed. The audience could readily grasp the theme of impermanence. We noticed that the interval of three years was marked by some modernization by way of utility poles with electrical lines. The 20th c. had arrived.

We always have a small quibble and here it has to do with the lighting design of Rick Fisher who missed the chance to show the dawn of which Suzuki sings. The sky never brightened. But the street lights did turn off.

Brigitte Reiffenstuel's costume design was traditional.

This is the Madama Butterfly that we will remember and cherish.  We hope we will not have to wait another eight years to see it again.

(c) meche kroop

WE HEART AMORE OPERA

Jose Heredia, Dilara Unsal, and Jonathan Green (photo by Nathan Hull) in Tosca

Every small opera company in New York occupies a different niche and we value Amore Opera for bringing the classics up close and personal while utilizing a full orchestra. Some operas belong on the stage of The Metropolitan Opera and some seem to demand a more intimate venue. We never thought so about Tosca but last night's experience demonstrated what a very personal story this is.

We were asking ourselves what is so special about Tosca that we never tire of it. First of all, Puccini's work is so melodic that the tunes dance around one's head long after one leaves the opera house, and his orchestrations are lavish. The libretto by Luigi Illica and Giuseppe Giacosa is filled with romantic and political passion--so refreshing in the current era of irony; the story was adapted from an earlier play by Sardou.

The opera had a difficult conception with lots of turmoil but somehow the conflicts got resolved and we were left with a work of astonishing power and a straightforward arc from start to finish without the longueurs that plague some other operas. One dare not snooze in Tosca, not even for a minute.

Furthermore, the opera offers three starring roles that allow great singers the opportunity to show their vocal and dramatic chops. Opening night of Amore Opera's production took place in the comfortable Riverside Theater and put three superlative singers onstage. There are alternating casts for tonight's performance and for the Sunday matinee and the production will go onstage next week Wednesday through Sunday. We looked over the casting and feel comfortable recommending all of them, having recognized singers of whom we hold a high opinion.

But let's talk about last night. In the title role, soprano Dilara Unsal was in full command of her prodigious talents--a sizable soprano with great power to cut through Puccini's dense orchestration, and a total commitment to her character. She was every inch a diva, self-possessed and demanding of attention and adoration--but also very loving and devoted to her man. Caught in Scarpia's net, she sang "Vissi d'arte" as finely as we've ever heard.

In the role of the painter Mario Cavaradossi, tenor Jose Heredia used his fine instrument well, creating a warm and full-throated sound without the pushing that bothers us in so many young tenors. He begins the opera as a carefree young man in love, delighting us with "Recondita armonia". Then he must mollify the jealous Tosca with a beautifully rendered aria "Qual'occhio al mondo".

He must then cope with his panic stricken friend Angelotti (portrayed by bass Kofi Hayford) who has just escaped from prison. Then he must deal with cross-examination and torture ordered by the evil Scarpia and his anger at what he believes to be Tosca's betrayal. And finally he must deal with a premature death.  "E lucevan le stelle" was sung with great depth of feeling.

Tosca's arrival at the prison has him praising her tenderly with "O dolci mani". All of these emotional shifts were captured by Mr. Heredia with vocal coloration and dynamic variation.

With his excellent baritone, Jonathan Green made a persuasive Scarpia, the man we love to hate. Scarpia is one of the most loathsome characters in the operatic canon. He uses his political power to intimidate and force himself on Tosca. (We think of the current Harvey Weinstein scandal in Hollywood. Plus ca change plus c'est la meme chose.) When Tosca stabs him and cries "Mori, mori", we smile with satisfaction.

Tenor Marc Khuri-Yakub made a believable Spoletta, acting on Scarpia's orders and taking his abuse. Bass Trey Sandusky performed the role of Sciarrone, Scarpia's orderly.

Baritone Gennadiy Vysotskiy added some humor in Act I, portraying the judgmental and devout Sacristan of the church in which Cavaradossi is doing his painting.

Isabella Reichenbach was inaudible as a young shepherd.

Which brings us to the issue of the orchestra.  The Riverside Theater is a comfortable theater but the orchestra "pit" is not exactly sunken and only the strong voices of the principals were consistently audible. Maestro Richard Cordova did his best to control the volume but Puccini's orchestration is dense. The brasses came on strong in the beginning and we enjoyed the work of the winds and percussionist. But oh, those strings! There were significant problems with intonation.

Direction by Nathan Hull was as apt as ever. Costume Design by Cynthia Psoras was a propos. The opera is set exactly a century before it was written, at the time of the turn of the 18th c. when Napoleon was returning to take over the papal province of Rome from the Neapolitans. The Empire costuming seemed just right.

Sets were probably left over from the days of Amore's predecessor, Amato Opera; they seemed shopworn but served the purpose. We came for the singing which was glorious, not for the sets.

Although Amore Opera is famous for its productions of the classics, we would be remiss if we did not mention La Zingara, a rarely produced opera by Donizetti which we absolutely loved last Spring during its American premiere! (The review is archived and available through the "search bar".) There will be a reprise on October 24 and a matinee on October 28th. If you missed your chance last season, now's your chance for a fun evening which balances the Puccini tragedy quite well.

(c) meche kroop