A NEW LOOK AT VIOLETTA

 We would go to the ends of the earth to hear one of our favorite sopranos interpret the role of our favorite female character. Fortunately we only had to go to 112th St. to hear Shaina Martinez show us more about Violette Valery than we had ever realized. Aside from a stunning voice, it is just this sort of insight that keeps us involved and makes us want to hear the same opera repeatedly. It's all in Verdi's music, of course, but most singers fail to delve deeply enough into the role and surrender to stereotypes. 

Let us begin by thanking The Lighthouse Opera Company for this live performance of Verdi's masterpiece La Traviata. We can think of no other opera that has such a profound effect. It is the clearly drawn and complex characters of Francesco Maria Piave's  libretto (adapted from Alexander Dumas' La dâme aux camellias) and their growth from one act to the next that captivates us.

In Act I, Violetta is a brittle and shallow "party girl", burning the candle at both ends. In Act II, she is a woman who has surrendered to love and softened. She is struck down by some pretty bad news delivered by her lover's father, allowing the provincial papa to see her true feelings but bravely hiding them from her lover.

In Act III, she is a pathetic and desperate dying woman, longing for the support that may never come. Although we were not given an excerpt from Act I (the restrictions of the staging could not have allowed it) Ms. Martinez limned her characters growth in Act II and her fading hopes of Act III.

And here comes the part that was new to us, an aspect that the artist conveyed by the most subtle but effective coloration. Violetta is not just making a sacrifice to help her lover's sister achieve a respectable marriage; she is actually identifying with this pure young woman who has led a respectable life, is accepted by society, and enjoys protection by her devoted father. One could see in the artist's facial expression and hear in her voice how her nobility of character and identification with the other more fortunate woman made this sacrifice possible.

Not only did we thrill to Ms. Martinez' vocal artistry but we were captivated by the depth of her characterization. Who of us has not felt a combination of admiration, identification, and envy of those whose fortunes are far more sanguine than our own.

The vocal artistry was so perfect that it served the character without calling undue attention to itself. This is what we love to see in an opera performance. We think that those who focus on the high notes or other technical aspects are missing the boat.  The thrill of opera is in the drama! Do we believe it? Can we identify? Are we moved? Yes, yes, and yes.

The other performances were excellent. Tenor Michael Celentano did a fine job as Alfredo. His "De' miei bollenti spiriti" was as ardent as one would wish and we were pleased to note Mr. Celentano's growth as an artist since we heard him the last time.

Baritone Joseph Gansert was an effective Giorgio Germont, demonstrating all the smugness of a provincial ready to read the riot act to the unacceptable paramour of his wayward son. How effectively he rose to a position of empathy as he realized Violetta's quality! This set the stage for Act III when he comes to her deathbed with respect and affection.

The duet with Violetta "Pura siccome un Angelo" was finely rendered and his pleading with his son "Di Provenza mar e suol" revealed him to be well meaning but manipulative.

Violetta's companion Annina was performed by Ema Mitrovic and the role of Dr. Grenvil was taken by Charles Carter. Matteo Adams portrayed the messenger Giuseppe. These are small roles but were well done.

Conductor and pianist Stephen Francis Vasta stood in for the orchestra and managed to convey the textures of the music as well as a solo piano could. Director John Tedeschi did the best he could within the confines of a tiny stage in a lovely church. All he had to deal with was a couple of chairs and a lectern that stood in the way. Singers were obliged to keep their six feet of distance with exchange of letters merely suggested.

These are indeed strange times for opera and The Lighthouse Opera Company did their best. Exceptional voices and acting can make up for a lot of "lacks". The imagination of the viewer must compensate and what our mind's eye produced was definitely not the "Dr. Death and Big Clock" symbolism of the latest Metropolitan Opera iteration but rather scenes pulled from our memory of more traditional and effective productions. 

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VERY VERY VERDI

Anna Viemeister, Manya Steinkoler, Francisco Miranda, Julianna Milin, Katrin Bulke, Lindell Carter, and Hyung Joo Eom

It isn't every day that we get to hear Verdi arias. Thanks to Vocal Productions NYC and Father Graeme Napier, who warmly welcomed us opera lovers to the gorgeous space of St. John's in the Village, we are replete.  As a matter of fact we have been humming Verdi's memorable tunes all night.

Il Trovatore is a most difficult opera with a near-inscrutable plot and some treacherous pitfalls in the vocal lines. How brave of VPNYC's group of singers to tackle it! If their success was not total we can certainly understand. 

Soprano Julianna Milin did well in lending expressiveness to Leonora's aria of anticipation "Tacea la notte...Di tale amor". We liked the overtones of her voice resounding through the church and the pace of the cabaletta. A little work on the trill should put the finishing touch on her performance.

Mezzo-soprano Anna Viemeister sang "Stride la vampa" and her stylish appearance worked against her.  We were trying to picture her in an ugly wig and makeup but failed. Our biggest complaint was that the notes in the lower register were not in line with the rest of the voice but sounded as if they came from someone else. 

She performed the duet "Non son tuo figlio...Mal reggendo all'aspro" with tenor Lindell Carter. Mr. Carter has improved dramatically since the last time we heard him sing, with much less distracting mugging. But we didn't feel him connecting with the character of Manrico nor was there any mother-son chemistry between the two of them. We would like to see Mr. Carter loosen up onstage since his gestures seem stilted.

Baritone Hyung Joo Eom has a pleasing instrument that is most pleasing at the lower end of the register. He performed "Il balen del suo sorriso" with a nice reduction of volume as the aria itself began. We would like to have heard even more dynamic variety; this was true for every performance in the Il Trovatore part of the program, which mostly suffered from sameness.

Watching a singer trying to emote while turning pages on a music stand gives us no pleasure whatsoever so we decided to withhold judgment of soprano Manya Steinkoler's abilities for later in the evening. Yes, we know "D'amor sull'ali rosee...Miserere...Tu vendrai" is a helluva challenge and, as we understand, this was Ms. Steinkoler's performing debut.

We were glad we waited because we truly enjoyed Lady Macbeth's aria "Una macchia e qui tuttora" which Ms. Steinkoler performed off the book and without glasses, permitting a far better connection with the audience. We liked her Italian, the legato, and the dynamic variety which we so missed in the first half of the program.

We also got another opportunity to hear Ms. Viemeister who put impressive dramatic intensity into Lady Macbeth's "Vieni t'affretta", following Verdi's interesting chord progression played by accompanist Francisco Miranda. We also liked the dramatic commitment in "O don fatale...O mia Regina" from Don Carlo. But we still felt uncomfortable with the disconnection of the low notes from the rest of the vocal register.

Her performance of "Dido's Lament" from the Purcell opera was filled with feeling and performed with crisp English diction, a skill we never take for granted.  We understood every word.

We also enjoyed Mr. Carter's delivery of "Dio, mi potevi" from Verdi's Otello, in which the tenor seemed to connect more with the character in a convincing manner.  He seemed to know what he was singing about, exactly what was lacking in the duet from Il Trovatore. Perhaps he likes being a powerful general more than being a bandit!

He was even better in Mac Duff's aria from Macbeth . "Ah la paterna mano" in which his vibrato served to underscore the character's grief.

He also performed a duet with Mr. Eom "Dio che nell'alma infondere" from Verdi's Don Carlo, which our narrator (substituting for titles) called a "bromance". The presence of the detestable music stand prevented their connecting but the voices did harmonize nicely.

Soprano Katrin Bulke did not tackle any Verdi and we were glad of it. She seems to know what her voice is suited for and gave a lovely performance of "Regnava nel silenzio" from Donizetti's Lucia di Lammermoor, a performance invested with lovely legato, flexibility in the fioritura, and dynamic variety. We would like to see a bit more fragility in the character, to foreshadow her decompensation later in this tragic tale.

We loved the bit of "fluff" she brought in, both singing and dancing in the delightful "Heia Heia in den Bergen" from Imre Kalman's Die Csárdásfürstin. We are always ready for some Hungarian fun!

Watch Vocal Productions NYC's Facebook page for some upcoming concerts which you are sure to enjoy.

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LARGER THAN LIFE

Ken Noda, Will Liverman, and Michelle Bradley at the Morgan Library

Soprano Michelle Bradley and baritone Will Liverman are two artists whose careers we have been following for some time and whose performances we have been reviewing. Ms. Bradley has dazzled us with her sizable voice heard through the Lindemann program and Mr. Liverman has been on our radar screen since he won an award from Opera Index. Mr. Noda has been one of our favorite collaborative pianists for many years.

What a pleasure to have all three onstage at the same time yesterday at the George London Foundation recital series, held at the Morgan Library. The recital hall there has very lively acoustics which have been helpful to smallish voices but these acoustics kind of overwhelmed us when applied to such large voices, voices which easily fill the farthest reaches of The Metropolitan Opera House.

We heard a varied program of opera and art songs, with a generous helping of Christmas music as encore pieces. Given the size of the voices we preferred the operatic arias to the art songs. Ms. Bradley's voice is perfect for Wagner, Verdi, and Strauss. We greatly enjoyed "Es gibt ein Reich" from Richard Strauss' Ariadne auf Naxos which we just reviewed Friday night in an evening of scenes at Manhattan School of Music.

Ms. Bradley's upper register has power and brilliance but the depth in her lower register betrays her mezzo-soprano roots. She was every inch an abandoned princess waiting for Death. Later in the program Strauss' Ständchen was delivered with delicacy and romance, a nice contrast.

We adore Verdi's La Forza del Destino and wish it would be produced more often. Still, we grab any chance we get to hear Leonora's "Pace, pace, mio Dio", even though we know that poor Leonora will never get the peace she longs for. Ms. Bradley performed magnificently in this aria and Mo. Noda's piano limned the forceful theme with urgency.

We liked all of the above far more than Barber's Hermit Songs which we have heard a bit too often this year. Still, every singer gives her own interpretation and we liked the contrast between the joyful "The Heavenly Banquet" and the sorrowful "The Crucifixion". "The Desire for Hermitage" was quietly moving.

Mr. Liverman was at his best in "Heiterkeit und Fröhlichkeit" from Albert Lortzing's 1842 comic opera Der Wildschütz. We were so taken with Mr. Liverman's performance that we put Lortzing's opera on our "must see" list. We believe that this joyful song is sung by the Count.

Another favorite was "Grigory's Aria" from Nikolai Rimsky-Korsakov's The Tsar's Bride, an 1899 tragedy in which Grigory tries every trick in the book to win Marfa who is in love with another man but also chosen by the tsar as his bride.  You just know this will not end well. Our Russian speaking companion pronounced Mr. Liverman's Russian to be excellent. We are grateful to be introduced to some wonderful music, so well sung by Mr. Liverman, and hope someday to see this potboiler onstage!

In contrast, the Quatre Poèmes de Guillaume Apollinaire by Francis Poulenc seemed downright lighthearted with surreal poetry and plenty of irony in both voice and piano.

We are not crazy about Ralph Vaughan Williams' Songs of Travel which seem to be a favorite of baritones. We found ourself listening more to Mo. Noda's piano which produced some amazing ripples in "Let Beauty Awake" and some gorgeously modulated arpeggi in the lively "The Roadside Fire".

This banquet of music was served with a seasonal dessert. Mr. Liverman accompanied himself on the piano with a jazzy arrangement of "Oh Come All Ye Faithful" which incorporated riffs from other carols. Ms. Bradley's encore was a gospel arrangement of The Lord's Prayer.  

The final encore was sung a capella. Both singers took turns singing verses of "Silent Night" with a gospel inflection. The third verse was sung in glorious harmony with both artists joining voices. Several audience members were overheard commenting that the encores were their favorite part of the program.

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AMORE OPERA DOES LA TRAVIATA

Jennifer Gliere as Violetta in a confrontation with Robert Garner as Giorgio Germont

People constantly ask us what our favorite opera is.  There are so many operas that we love and we never know how to answer the question. But if push comes to shove (or story comes to score), we must say that it is Verdi's masterpiece La Traviata. On this touching tale, so revelatory of 19th c. morality, Giuseppe Verdi lavished his most consistently gorgeous melodies, so revealing of the characters inner lives.

Violetta, the ultimate "party girl" reveals both an ability to abandon herself to love and a dignity of spirit when asked to make the ultimate sacrifice. Although we are sure that all four sopranos in the rotating casts of Amore Opera were topnotch, we are very glad to have heard Jennifer Gliere for the first time. The scintillating timbre of her soprano and the artistic way in which she employed it were enhanced by some fine acting that made us care about Violetta's tragic fate.

Never having seen the 1853 play La Dame aux camélias by Alexandre Dumas, fils, upon which Francesco Maria Piave's libretto is based, we cannot say whether the sympathy we feel is based upon the story, the libretto, the music, or the performance.  Let us just say they all contributed.

Although the story is very much one of the 18th and 19th c. and consequently very resistant to updating (as evidenced by the meretricious version at the Metropolitan Opera), a 21st c. woman can still relate to Violetta's first act ambivalence. At some point in a woman's life, she weighs her independence against the delights of romance. What arias better express this ambivalence than "Ah, fors' è lui" and "Sempre libera". Ms. Gliere invested the first aria with melting legato and the second with fiery fioritura.

Baritone Robert Garner, whose performances regularly impress us, was just as impressive last night as Giorgio Germont. We want to detest this character for ruining the happy romance of his son Alfredo with Violetta, who has given up her self-destructive partying for love. But this provincial papa is just as much a victim of circumstance as is Violetta. He lives in a morally judgmental world in which his son's behavior puts a stain on the family name and threatens his daughter's impending marriage.

In consequence, a good baritone can turn our negative feelings in a sympathetic direction and Mr. Garner's performance did just that. The harsh coloration of his voice and hostile demeanor gave way to softer tone and gesture as the bullying turned into manipulation in "Pura siccome un angelo". He even played the God card! Poor Violetta was no match for him. But by the end of their confrontation, he was impressed by her dignity and expressed sympathy for her plight.  It was a remarkable performance.

The passionate young Alfredo was sung by tenor Gerardo Gaytán, as capable of vicious retaliation toward Violettta's apparent rejection as he was of tender love in "De' miei bollenti spiriti". 

Mezzo-soprano Hannah Kramer made a vivacious Flora and soprano Emily Evelyn Way was a supportive Annina.  Brinson Keeley was appropriately distasteful in the baritone role of the entitled and possessive Baron Douphol, Violetta's on-again-off-again "patron". Justin Randolph sang the tenor role of Gastone, the Vicomte who brought Alfredo to Violetta's home, thus setting the plot in motion.

Under the direction of Susan Morton, the chorus of partygoers sang well. Under the baton of Musical director Maestro Douglas Martin, the orchestra played well for the most part, hampered only occasionally by some tonality problems in the string section.

We have previously pointed out that singers make the best directors.  Nathan Hull-- Founder, Artistic Director, and Stage Director--succeeded in making the action believable and meaningful with several small touches. For example, one of the "aristocratic" partygoers took unwelcome physical liberties with one of the serving girls. After the partygoers left, Violetta wanted to toast her independence and searched amid the discarded glasses and bottles for some leftover champagne to pour into her glass. We blushed as we recalled doing the exact same thing! What a humanizing touch!

We could go on and on but urge you to see for yourself what a good director can do with a traditional production. We far prefer such a modus operandi over the total transmogrification and irrational updating we have been exposed to lately.

Scenic Design by Richard Cerullo was consistently appropriate as were the costumes of Cynthia Psoras--with one minor exception. La cravate noire was not appropriate evening attire in the mid 19th c. Given the cost of renting tailcoats we are totally willing to accept such a minor flaw!

Choreography by Aurora Reyes provided some colorful Spanish dancing at Flora's party, the gaiety setting us up for the violent confrontation that followed.

There will be a performance tonight and another Sunday afternoon, with different casts. You couldn't find better entertainment. Our high opinion was reflected in the standing ovation and thunderous applause the cast received from a packed house.

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SOME BIG BIG VOICES

Alan Darling, Amber Wagner, and Reginald Smith, Jr.

Another excellent George London Foundation recital was heard yesterday at The Morgan Library; it is customary to bring together two award winners, one more senior than the other. Soprano Amber Wagner won a major award in 2010 and baritone Reginald Smith, Jr. did so in 2015, and also in 2014, if we are not mistaken (not 2016 as in the program notes). When such talented artists win awards from multiple foundations, it is easy to get confused!

In any event, Ms. Wagner's artistry has won her a major singing career and the contributions made by the George London Foundation have been instrumental.  Similarly, Mr. Smith's star is on the rise and we will hear much more of him in the future.

We assume that singers in recital choose works that they love and/or works that bring out the best of their particular talents. Ms. Wagner chose wisely in opening the program with four songs by Richard Strauss. Her rich creamy sound is just right for Strauss and the entire hall was vibrating with her abundant overtones. It is a thrilling sound and she poured plenty of passion into the expansive "Zueignung", bringing things down a notch for the gentle and expressive  "Morgen!" At "stumm", we realized we were having a breath-holding moment. "Beim Schlafengehen" brought out her artistry in the vocalise passages, and "Cacile" took us back to a place of passionate devotion.

So why did we feel so uninvolved in "Du bist der Lenz" from Richard Wagner's Die Walkure? This is our favorite scene in the entire Ring Cycle and we wanted so much to feel the thrill of recognition and the wonder of connection with a soulmate. We thought perhaps there was insufficient forward momentum. Undeniably the instrument is a thrilling one and plenty large enough to sail over an orchestra. We will hope that her characterization of Sieglinde will develop over time.

Mr. Smith has a powerful baritone that we have written about several times. We loved his Verdi and his interpretation of The Emperor Jones overcame our disinterest in American music. We were hoping he would sing that yesterday but he did not. As a matter of fact, we did not think his programming was the most successful at showing his artistry.

Yes, it is Sunday, but if we were interested in a sermon we would have gone to church. Carlisle Floyd's settings of grim verses from the bible seemed ponderous. Four of them were four too many. Taking into account the spirituals offered as encores, it was just too much religion for our taste, although we are sure there were many in the audience who found the works moving.

Tackling a quartet of chansons by Ernest Chausson was a brave move for an artist with such a powerful instrument and we found his voice colored with surprising tenderness. He produced some sensitive dynamics and fine French diction. Still, should an artist attempt what lighter voices can achieve so well, when few have the powerful voice necessary for Verdi and Wagner? 

In "Nemico della Patria" from Umberto Giordano's Andrea Chenier, he applied his powerful instrument to great effect, limning a world gone mad, a situation which seems particularly relevant today.  He varied the colors along with the dynamics to express incredulity and disillusionment. "A old fable that gladly the public still swallows". Indeed!  We loved his Italianate phrasing and wanted to hear more of his operatic side. And we did!

In a scene from Verdi's Aida, he and Ms. Wagner excelled. He knew the role well and conveyed all of the paternal manipulation that Amonasro needs to convince the ambivalent Aida to betray Radames and save her people. In spite of the use of the loathed music stand, Ms. Wagner filled her role with drama and used her voice to its best advantage.

Her program also included a trio of Barber songs marked by excellent English diction. "Nocturne" was quite expressive and permitted some mystery from Alan Darling's piano. He has been Ms. Wagner's coach for the past ten years.

As encores we heard Ms. Wagner sing "His Eye is on the Sparrow", sung with great feeling. Mr. Smith sang "He'll Bring it to Pass" and the pair joined forces for some lovely harmony in an unusual arrangement of "This Little Light of Mine".

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A VERDI SINGALONG AT THE FILM FORUM

Giuseppi Verdi

We celebrated President's Day at the Film Forum watching a "lost and found" documentary about the birthplace of Giuseppe Verdi--Parma, renowned not only for prosciutto but for their total dedication to opera, particularly the club of 27 Verdi enthusiasts, each one "owning" one of of the master's 27 operas. After the film, the audience sang along with a group of professional singers "Va Pensiero", also known as "The Chorus of the Hebrew Slaves" from the opera Nabucco. George Hemcher played the piano and we all sang our hearts out in this ode to freedom. Who could have thought of such a celebration but film-maker August Ventura, whose film about these appassionati, entitled "27",  is in the works. No wonder the show was sold out!

Last night's film, entitled "In the Mouth of the Wolf", was introduced by George Malko its Co- Producer. As you probably already know, this is an English translation of the expression opera singers use to wish one another good luck--"In bocca al lupo". The film was created over a half century ago and aired on television during an epoch when there were very few channels and cultural programs were not as rare as they are now. The film disappeared.

The film follows soprano Margherita Roberti (nee Margaret Jean Roberts from Iowa) who went to Parma to open the season as the leading lady of Luisa Miller. The 16mm film we saw was resurrected from Ms. Roberti's private collection. What a treat for the audience! We followed her through the streets of Parma and into the Teatro Regio, watching the rehearsal process and observing the trials and tribulations of the artists and the involvement of the production team. 

The major issue was the fear on the part of the artists of the reaction of the loggionisti, the appassionati who crowd into the upper levels of the theater just waiting for a singer to make a mistake so they can hiss and boo. There is a warning "groan" and the severe reactions occur only on the second mistake! What a tough audience! It was pointed out that American audiences are overly kind and will give an extra big hand to a singer who misses a note and soldiers through to the end. The disapproval of these loggionisti has been known to ruin many a career and driven singers to despair.

The film was narrated rather cynically by an American man who moved to Parma because of his opera-singer wife and opened a bar; the bar was filled with men arguing about opera the way Brooklynites argue about baseball. Parma eats, drinks and sleeps opera.  Everyone sings.  Policemen sing while directing traffic; street-sweepers sing as they sweep; children in school want to be opera characters.

 Mr. Ventura's film, the rushes of which we have seen and thrilled to, shows how this fanatic culture, although waning somewhat, is still alive and well in Parma. There is a club with 27 members, each one of which assumes the name of one of Verdi's 27 operas. Those Parmigiani take their opera very very seriously. We rarely attend filmings but rest assured when Mr. Ventura's film comes out, we will be there! Meanwhile, we can listen to Verdi's glorious output and join with him in the belief that the arts preserve our humanity against the incursions of politics.

There is one tiny factoid we wish to share with you, something we did not know.  In pre-Euro days, Verdi's photo adorned the 1000 lira note in Italy. This note was worth but a dollar but Verdi's music is priceless.

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VIVE LES ARTS--in all their Gallic glory.

George Hemcher, Stéphane Sénéchal, and Robert Osborne

Last night we had the privilege of attending a private recital at the magnificently art-filled home of painter Lewis Bryden and his lovely wife Betsy.  Mr. Bryden paints exactly the kind of painting that we want in our home--portraits and representational works of haunting loveliness.

It was the perfect setting for a recital by French tenor Stéphane Sénéchal, whom we heard for the first time, and bass-baritone Robert Osborne, whom we enjoyed so much at the Hispanic Society singing Don Quichotte.

The program, entirely in French, seemed designed to highlight the unique talents of each artist and also to show a contrast between the delicacy of Mr. Sénéchal's lyric tenor and the robustness of Mr. Osborne's sturdy bass-baritone. 

The former has quite a career in his native France and has garnered multiple awards both there and here. His ease with his homeland's mélodies is legendary and he has achieved quite a reputation as an ambassador of the French repertoire. He is also affiliated with Classic Lyric Arts as Artistic Director of L'Art du Chant Français which has contributed so much to French performance instruction.

He opened the program with three selections by Francis Poulenc; our favorite was the lively "Vous n'écrivez plus", setting of a text by Max Jacob.  Later on the program he performed songs from an earlier period, all masterpieces.  In Gabriel Fauré's "Ici-bas", he used his fine phrasing to good effect, employing an exquisite caressing tone.

In Henri Duparc's "Soupir", he used delicate vocal brush strokes to paint a picture of longing. Charles Gounod's "Viens les gazons sont verts" was sung with all the enthusiasm the text required, accompanied by George Hemcher's rippling piano. Déodat de Séverac's "Les hiboux" was given a haunting interpretation by both tenor and pianist.

His final solo selection was Nadir's lilting aria "Je crois entendre encore" from Bizet's "Les pêcheurs de perles".  We loved the floated top notes and the lulling rhythm which seemed borrowed from a barcarolle.

Mr. Osborne is well known on both sides of the Atlantic Ocean for his powerful and versatile singing. His recordings are legendary. He performed two melodic songs by Oscar Straus, a composer of whom we wish to hear more. Mr. Osborne used his larger-than-life personality and ample dramatic gestures to convey the feelings of a hopelessly smitten lover in "Je t'aime". His dynamic variety kept the waltz neatly in romantic territory without pushing it into sappiness.

Mr. Straus' music is replete with melody. The text scans and rhymes, making it the kind of music you walk out humming. The two artists joined forces for "Oui, c'est une valse de Vienne" in which a young man celebrates his carefree youth.

Franz Waxman was a Berliner who fled the Nazis and wrote some marvelous unpublished songs while in Paris; he continued on to the USA where he wrote scores for Hollywood films. What joy to have Mr. Osborne bring to our attention these wonderful songs from Waxman's Paris period !

Mr. Osborne captured the varying moods of the songs with spontaneity and ease. "Sans un mot" had a tender romantic feel and was written in waltz time. "Tout seul" was bluesy and bitter. "La crise est finie" seemed ironic with its martial rhythm. We enjoyed these songs so much and are happy to report that Mr. Osborne has recorded them! And that's a first!!!

The two singers joined forces for "Duetto de la Chartreuse verte", a parodic drinking song from Emmanuel Chabrier's L'Etoile,  in which Mr. Osborne got to show off his formidable lower register. Every drop of humor was captured.

In a display of versatility, he switched gears for "Et toi, Palerme" from Giuseppe Verdi's Les vêpres siciliennes. It is special indeed to hear a bass-baritone achieve such flexibility in the ornamentation.

What program with two male voices could end with anything but "Au fond du temple saint" from the aforementioned Les pêcheurs de perles.  It was the perfect ending for a recital that lasted but an hour but was nonetheless completely fulfilling.  

There was none of the effeteness that can sometimes creep into an evening of French song. The variety of style and attention to dynamics kept it compelling from start to finish. A better accompanist than George Hemcher could not be found; he consistently matched the varying moods and dynamics of the singers.

The evening concluded with a reception and a tour of Mr. Bryden's studio where we admired paintings and sculptures both. Vocal arts and plastic arts in one evening! Only in New York!

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GILDA-- NOT IN A TRUNK

Aaron Blankfield, Laura Virella, Jessica Sandige, and Robert Garner in Amore Opera's production of Rigoletto

Every one of the smaller sized opera companies in New York has its own style, its own mission, and its own constituency. The plucky Amore Opera sprang like a phoenix from the ashes of the Amato Opera Company; they serve their audience well by presenting honorable productions of operas-- both well known and undiscovered ones alike. We use the word "honorable" because there is no giant ego here trying to make an opera "relevant" by updating it or shoehorning it into a different locale. The composer and librettist are well served, as well as the singers and the audience.

Here we have Artistic and Stage Director Nathan Hull who really understands opera and opera singers and lets them show their stuff in a highly legitimate fashion. Apparently, his view of the major themes of Giuseppi Verdi's Rigoletto is consonant with our own. He takes us exactly where librettist Francesco Maria Piave meant for us to be--16th c. Mantua, where a licentious Duke could surround himself with courtiers and employ a hunchback as his court jester.

As we see it, and Mr. Hull as well, the major themes are 1) the corruption of the spirit that can occur when a body is deformed, 2) the possibility of fine and tender sentiments in even the most abrasive character, and 3) the supernatural belief in the effectiveness of a curse.

When an individual is ostracized by society, his character gets deformed in any one of a number of possible ways. Rigoletto's eponymous hero is opera's version of Shakespeare's Richard III, trying to gain power over his tormentors.

Rigoletto, while a holy terror at court, is a devoted loving father to Gilda; his failure is loving too much and being too restrictive of her freedom. She has not had the opportunity to develop her own judgment, a quality that is earned by learning from one's mistakes.

16th c. folk took curses very seriously and it is here that Mr. Hull's directorial touches made perfect sense. Whenever Monterone's curse was mentioned, the lighting and the music and the acting let us know, in no uncertain terms, that Rigoletto was petrified.  (That was one of the failures of the Metropolitan Opera's most recent production which placed the action in contemporary Las Vegas.  As if anyone in today's America would be afraid of a curse!)

There is something about a small house that lets the audience members feel everything more intensely.  The theater in the Sheen Center on Bleeker Street only holds about 250 people and everyone gets to feel the annoyance of the courtiers, the callous indifference of the Duke, the shame of the abducted daughter, the grief of the father, and the flexible morality of the hired assassin Sparafucile.

As Rigoletto, baritone Robert Garner turned in his reliably excellent performance with acting that matched vocalism; he permitted us to see the softer feelings which underlay the hunchback's abrasive behavior at court. His Act I aria was performed in front of the curtain, allowing the sets to be changed for the scene in his home, and allowing the audience a greater understanding of his character.

Soprano Jessica Sandige made a fine Gilda, showing her character's innocence and devotion to her father by means of gesture and vocal color.  Their duet in the second scene of Act I began in 3/4 time but the time signature changed as emotions grew in intensity. We are very much looking forward to Ms. Sandige's performance with Martina Arroyo's Prelude to Performance in July. And we hope she will use her excellent "Caro nome" as an audition piece.

We first heard and reviewed tenor Aaron Blankfield four years ago at Chelsea Opera in the role of Goro and are glad to see his promise fulfilled. Last night he showed a completely different side of himself than he did recently as Nemorino. Going from that role to that of the Duke was like day into night but he acquitted himself well.  He really shone in Act II with "Ella mi fu rapita!" We actually like Mr. Blankfield's voice best in the more piano passages, at which he excels.

Another highlight of Act II was the scene in which Gilda confesses her shame to her father. She literally cannot face him. The emotionalism was intense.

As Maddalena, mezzo-soprano Laura Virella was totally believable--just as vulnerable to the charms of the Duke as Gilda was--and convincingly persuasive with her brother as she begged him to spare the Duke's life, even as he sings the famous "La donna è mobile", driving the audience wild.

The Act III quartet was brilliant with all four major character singing of their desires and fears. Most poignant is Rigoletto's wish for vengeance and Gilda's desire for forgiveness for the Duke.

We enjoyed the substantial baritone of Sam Carl as the outraged Count of Monterone who lays his curse upon the Duke and Rigoletto, both indifferent to the violation of his daughter.  And this was a spot where Mr. Hull's direction amplified the impact.

In the same scene, the Count of Ceprano (baritone Thomas Geib) suffered extraordinary humiliation when children entered and literally placed horns on his head because the Duke was going to have his way with the Countess of Ceprano (mezzo-soprano Mary Gwynne Langston). Just another brilliant directorial touch that emphasized the cruelty of the court.

Bass Peter Ludwig sang the role of Sparafucile in a menacing manner. Baritone Stuart Whalen took the role of Marullo and tenor Daniel Kerr sang the part of Borsa. As Giovanna, Gilda's guilty governess, Janelle Kirton overdid her gestures in an inappropriately modern fashion.

Maestro Douglas Martin conducted with Verdian vigor. The strings  produced a lovely carpet of sound, but the brass took awhile to calm down. We particularly liked Richard Paratley's flute solo. It is challenging for the artists to sing over the orchestra, which is not in a pit. But that is just a factor to be tolerated since there is no way to change it.

Sets were simple but worked well. There was a throne and some panels to suggest the court. Rigoletto's terrace worked well with a street entrance and a rear one. Rigoletto's role in holding the ladder in the abduction scene was made clear. Sparafucile's tavern seemed barren and isolated which added to the feeling in Act III.

Costumes were colorful and suggestive of the Renaissance. Choreography by Dana Boll was effective but unnecessary. One minor flaw of Amore Opera is tending to crowd the small stage with either too many people or too much scenery.

Fine work was done by the chorus, under the direction of Susan Morton. Their voices added greatly to the storm scene, providing the sounds of the wind while the orchestra produced the thunder.

If you wish to see the same cast, you will find them onstage next Saturday night. However, we understand that the other casts are equally fine and there are several performances from which to choose.  There are even two Saturday matinees with an abridged version for children.

(c) meche kroop

CARDONA DOES RIGOLETTO

The stellar cast of Verdi's Rigoletto produced by Martha Cardona Opera

Last night we had the great pleasure of witnessing yet another triumph of the Martha Cardona Opera. One never tires of Verdi's 1851 masterpiece Rigoletto, with libretto by Francesco Maria Piave, based on Victor Hugo's scandalous play Le roi s'amuse. In mid-19th c. Italy, it was quite a challenge to negotiate with the Austrian censors and many plot compromises were made. Thankfully there were no compromises made with the music and conductor Gregory Ortega led a crisp and insightful reading of the score, from the portentous opening to the lively party music.

Presenting opera in a semi-staged version is a challenge for the audience as well as for the singers. Audience members must mentally invent the setting and the costumes; singers are generally confined to a shallow playing area in front of the orchestra and may have difficulty balancing their vocal  volume with that of the orchestra. None of this seemed to be a problem last night. Minimal but effective direction was provided by Founder and Artistic Director Daniel Cardona.

The singers were undeniably first rate and of the caliber that delights audiences world wide. Highly impressive was baritone Jason Stearns as the eponymous Rigoletto. His acting was so powerful and convincing that his firm baritone seemed only to serve the various nuances of his character. Without any "help" from an artificial hump, he contorted his muscular body and adopted a limp that told us plainly that this poor man had experienced a lifetime of suffering and humiliation. His soliloquy was moving and his duets with Gilda were heartbreaking. This was a performance to be remembered.

Such characters often turn their anger at their bodies toward other people in their pathway and Rigoletto turns his anger onto the corteggani of his employer, the Duke of Mantua. As court jester, he mercilessly pokes, prods, and skewers these courtiers. Thus he incurs the wrath of the elderly Monterone who has come to court to protest the dishonoring of his daughter. Monterone curses him and this maledizione is tragically fulfilled at the end of the opera by the death of Rigoletto's beloved daughter Gilda, the only person toward whom he feels tenderness and love.

Last night's Gilda was played--no, inhabited, by the lovely soprano Yunnie Park, whom we well remember from Martina Arroyo's Prelude to Performance.  She has a scintillating sound marked by a liquid vibrato and great ease with the fioritura. The very picture of innocence, she is an easy mark for the licentious Duke who has been making eyes at her in church, the only place the lonely girl has been permitted to visit. Ms. Park sang the "Caro nome" with such feeling that she made us remember our first delirious crush.

As the Duke, tenor Galeano Salas, whom we greatly enjoyed in Santa Fe last summer, used his generous sound well and has grown considerably since winning an Opera Index award. His instrument is full-throated with a great deal of breadth to the sound and, happily, no pushing. His appearance is so sweet that we didn't sense any nastiness in his portrayal.  His Duke was more carefree than devious.

Bass-baritone Kian Freitas overcame his youth to effectively portray the aforementioned elderly courtier Monterone. He did this by coloring his fine voice with dignity mingled with outrage.  There are no small roles! He is a Martha Cardona regular and we are glad of it.

As Maddalena, mezzo-soprano Sarah Heltzel sang well and was believable as Sparafucile's seductive sister whose duty it is to set up the victims for her brother's assassinations. She too is taken in by the Duke's flattery and convinces her brother to betray his code of honor as an assassin.

Another mezzo-soprano Meghan Sands did well with the small role of the Countess Ceprano who has captured the Duke's attention. Jeffrey Perez was fine as her husband. As Giovanna, mezzo-soprano Fiorella Velez sang well but did not create a distinctive character.

Our one disappointment was with bass Matthew Anchel who sang well but was dramatically hampered by being "on the book". There must be a story behind this which we do not know.  Tenor Eamon Pereyra sang the role of Borsa;  baritone Lane Johnson made a fine Marullo.  Patricia Vital sang the role of the Page and the other courtiers were sung by Ray Calderon, Lindell Carter, Tim DiFiore, and Robert Pagnani.

The titles were reasonably well translated but unfortunately not always coincident with what was being sung.  At times they fell behind and at other times rushed ahead.  This was our sole quibble with an outstanding performance.

It is an extraordinary pleasure to hear opera up close and personal. Merkin Hall is a fine venue for this purpose. 

(c) meche kroop

A TALE OF TWO FATHERS

Sarah Mikulski, Joshua Arky, Brian Michael Moore, Young Kwang Yoo, Maestro Thomas Muraco, Yulan Piao, Woo Yong Yoon, Edwin Davis, and Ü Lee

One doesn't generally get to hear a Verdi opera at a music conservatory, but last night we were fortunate enough to hear Luisa Miller at Manhattan School of Music. Presenting a Verdi opera with such a young cast was a risky enterprise but the risk paid off in spades. The evening was a stunning success with first rate musical values.

The opera had its premiere in 1849, thus belonging to the earlier portion of Verdi's "middle period", before his success with Rigoletto. The libretto by Salvadore Cammarano was based on Friedrich von Schiller's play Kabale und Liebe (Intrigue and Love).  It is not part of the standard repertory but we admire it greatly. Like so many operas composed by Verdi, there is a strong emphasis on a father/daughter relationship.

The two fathers could not be more different, but they share one important feature.  Each loves his child and wants the best for him/her. Miller want his daughter to be happy and his only concern is whether the man to whom she pledged her love will be honest and faithful. The Count de Walter wants his son to be privileged and powerful. He has chosen Rodolfo's bride--The Duchess Federica, and will stop at nothing to tear his son away from Luisa, Miller's daughter.

The opera is overflowing with gorgeous melodies. There are arias aplenty and duets for all possible  fach combinations, plus stunning trios and quartets to bring the acts to a close. As the innocent Luisa, soprano Yulan Piao sang with  terrific technique and enough dramatic intensity to get us to care about her character. She has a brilliant instrument and fine Italianate phrasing. The coloratura was so impressive we were thinking "There's a budding Queen of the Night!"

As her lover Rodolfo, Woo Yong Yoon was ardent and used his lyric tenor well, without any of the pushing that bothers us so much in young tenors. His love duets with Ms. Piao were marked by singular harmonic beauty.

As the Duchess that Count de Walter wants his son to marry, mezzo-soprano Ü Lee was resplendent both vocally and dramatically.  Her rich chocolate instrument was employed to great dramatic effect as she created a multi-dimensional character--a woman who has loved Rodolfo since childhood and is suffering a major disappointment that he loves another woman, and yet not at all vengeful toward her rival. The facial expressions and gestures she used as she went through a panoply of emotions were arresting; one could not take one's eyes off her. This gifted artist is also a coach, conductor, pianist, and composer. Additionally she is developing music software.  She is an alumna of MSM, while the other artists are all graduate students.

We were also impressed by baritone Young Kwang Yoo who played Miller, the devoted caring father of Luisa. Their duets were no less fine than those of Gilda and Rigoletto. He has a nice full baritone and an effective stage presence.

As Walter, the sneaky manipulative and threatening father of Rodolfo, bass Joshua Arky showed admirable vocal flexibility for this fach. The only thing that would take his performance to the next level would be some physical flexibility. Even a character we hate has to move around the stage with grace.

As the nasty henchman Wurm, bass Edwin Davis succeeded in creating one of those characters one loves to hate. His bass has a juicier sound than Mr. Arky's and the contrast between the two basses was one of those casting miracles that we love.

Soprano Sarah Mikulski sounded lovely in the small role of Laura and Brian Michael Moore stepped in for an ailing Timothy Lanigan in the other small role of Un Contadino. Please note that the casting for Friday night is different and that Mr. Moore will be singing Rodolfo--ensuring that the experience will be as fine as last night's was.

Maestro Thomas Muraco did a fine job of preparing these young artists for the performance. The maestro conducts with his expressive hands and one can observe him breathing along and silently singing along with them. The score was arranged for two pianos four hands (Jeremy Chan and Jonathan Heaney) with parts taken by the keyboard (Jia Jun Hong doing the organ stuff) and clarinet (Adam Gallob). The melodic lines given to the clarinet were wonderfully played.

The chorus sang well. There was no attempt at costuming or sets. They would have been superfluous. The evening was about the music and we consider it a 100% success. You have one chance to experience this rare treat on Friday night at 7:30, IF you can get tickets. Last night the standby line stretched all the way down the hall. Word must have gotten out!

(c) meche kroop

BUONA NOTTE

QuinnKelsey and Georgia Jarman (photo credit: Ken Howard for Santa Fe Opera

It was indeed a "buona notte" at the Santa Fe Opera when a perfect storm of casting and direction created a Rigoletto to Remember. Although there was no actual weather event as there was five years ago here, when Mother Nature provided real live lightning and thunder for Act III, there were fireworks aplenty onstage.

Baritone Quinn Kelsey's portrayal of the eponymous character was both chilling and moving.  Like every other character in this work, his complexity was captured by the artist and one couldn't help but think of Shakespeare's characters, always so multidimensional. Warped in body and spirit, Rigoletto expresses his rage at his condition by verbally attacking the courtiers comprising the court of the licentious Duke of Mantua--provoking, embarrassing and humiliating them under the protection of the Duke. But he has a soft and tender side as well, expressed in his duets with his lovely daughter Gilda. Mr. Quinn's rich baritone and expressive skills worked as well in his mocking mood as they did in his tender scenes with Gilda.

Gilda is also a complex character. She is the very incarnation of innocence, having been sheltered from the world by her overprotective father. She too has another side.  She hides some very essential facts from her father and lies about the fact that  she has been oourted by the Duke himself in the guise of a poor student named Gualtier Malde. Soprano Georgia Jarman used her gorgeous instrument and consummate phrasing to show the tender caring of daughter for father in their duets together. Her admirable coloratura skills were employed for her flights of fioritura in the famous aria "Caro nome". Her prodigious vocal skills were complemented by total immersion in her character. We believed her and cared about her.

The Duke  is a more consistent character, imbued as he is with licentiousness and depravity.  But the tenor assigned this challenging role, Bruce Ledge, needs to hide his true character and convince Gilda that he is a poor student feeling the most honorable feelings toward her. Yet Verdi's music tells us everything we need to know about this scumbag. Ledge delivered his "Questa o quella" and "La donna e mobile" with the same spirit as that with which he tossed women onto the floor.

As Sparafucile, the hired assassin who is too ethical (!) to cheat a client, bass Peixin Chen made a fine chilling appearance and, as his sister Maddalena, mezzo-soprano Nicole Piccolomini made a fine showing with one of the most powerful voices we have heard recently in this fach. It was easy to see how she could overpower her reluctant brother in her wish to spare the life of the Duke, who has managed to work his seductive magic on her as well.

Gilda's caretaker Giovanna, sung by mezzo Anne Marie Stanley, was given an unusual emphasis. She was portrayed as a poor wretch, hungry enough to lick the crumbs off Rigoletto's plate. Her resentment toward her master was so great that she not only betrayed him by accepting bribes from the Duke but also from the courtiers who abducted her charge.  To add insult to injury, before her treachery can be punished, she gathers her few belongings, spits on her master and runs off.

Baritone Jarrett Ott stood out as a fine Marullo, one of the courtiers, and veteran Robert Pomakov's sturdy base lent emphasis to the aristocratic Count Monterone whose daughter (Andrea Nunez) has been disgraced by the Duke. Bass Calvin Griffin was fine as Count Ceprano whose wife, portrayed by Shabnam Kalbasi, is also in the Duke's sights. It is always a pleasure for us to see and hear so many fine young artists getting a chance to shine onstage.

Musical values were superb all around with Maestro Jader Bignamini leading a propulsive account of Verdi's score.  The evening seemed to fly by all too quickly but never felt rushed. The fine points of Verdi's orchestration were fully realized. Today's audience would scarcely believe that this major hit from Verdi's middle period (premiered in 1851) was perceived as revolutionary in its compositional innovations and was also subject to great difficulties from the Austrian censors who were occupying the north of Italy. They saw Francesco Maria Piavi's libretto (adapted from Victor Hugo's play "Le roi s'amuse"), as highly immoral.

We could just imagine how they might have reacted to Director Lee Blakeley version of 2015!  He chose to set the work in the period of The Risorgimento, Verdi's own time, also the time of the Counter-Reformation and the Restoration of the Catholic Church.  In Blakeley's version, the court is wildly lascivious and seems to be in full orgy mode at all times. Along the same lines, Sparafucile's tavern is actually a brothel with Maddalena performing sexual duties along with other "sex workers". Although one might interpret this as overkill, the concept did work as a manifestation of extreme depravity.

Other directors have updated the work from the 16th c. There was a Mafia version by Jonathan Miller, there was the Doris Dorrie version set on the Planet of the Apes (!) , the Linda Brovsky version set in Mussolini's fascist Italy, the Las Vegas version by Michael Mayer and, most recently,  Lindy Hume's version set in Berlusconi's paparazzi-driven world. For our taste, Mr. Blakeley's version suits us best. We can believe that Monterone's curse la maledizione was received with credulity and fear during that period, but not in the 20th c. We are waiting for a version set in Hugh Hefner's Playboy Mansion so we can howl with laughter.

We found the Scenic and Costume Design by Adrian Linford to be a bit distracting and unsatisfying. A rather undersized revolving stage permitted the audience to see the court, Rigoletto's house and Sparafucile' tavern in rapid succession.  This made for a speedy evening without lengthy intermissions and kept the drama moving forward.  But the set itself was crowded and puzzling. Why would the Duke tolerate threadbare furniture? Why is everything atilt? There was an overall emphasis on poverty: Giovanna seems to be starving and Sparafucile is dressed in rags like a hobo. Some characters are dressed according to the mid 19th c. and others seem to be wearing contemporary streetwear.

In sum, the Santa Fe Opera has mounted a real winner that scored well in the areas we value most highly--Verdi's tuneful yet character-driven music given its full due, and the high level of characterization and drama that led us to experience the involvement we so greatly appreciate.The casting was astute; the singers all had fine voices and enacted characters one could believe. The chorus, comprising apprentices directed by Susanne Sheston, added enormously to the musical value and to the drama.

(c) meche kroop

CARDONA DOES DON CARLO

Michael Fennelly, Ricardo Tamura, Julia Rolwing, Daniel Cardona, Ann McMahon Quintero, Daniel Lickteig, Matthew Curran and Jeremy Galyon

When Daniel Cardona, Founder and Artistic Director of the Martha Cardona Theater, undertakes to present one of his evenings of opera, you can rest assured that the talent onstage will be unparalleled.  Last night at Christ and St. Stephens Church he presented Verdi's longest opera--but the evening flew by.  Truth to tell, he presented excerpts from the opera in concert version; all the major highlights were there--arresting arias, divine duets, terrific trios, and a quality quartet.

We don't know how Mr. Cardona managed to assemble such a perfect cast but it was a dazzling assemblage of talent.  As the tragic eponymous hero, we heard tenor Ricardo Tamura, often heard at The Metropolitan Opera.  Hint:  he is singing the role at The Met this Spring.  Don't say we didn't alert you.

As the woman he loves, the French Princess Elisabetta, we heard the fine soprano Julia Rolwing.  As his best friend Rodrigo, baritone Daniel Lickteig exhibited a fine tone and a sympathetic character.  The marvelous mezzo Ann McMahon Quintero took on the role of The Princess Eboli and somehow managed to evoke sympathy for this jealous vengeful character.

Even King Fillipo II, a thoroughly detestable character who has his own son murdered, as sung by bass Matthew Curran, had a moment of sympathy when he sang the famous aria "Ella giammai m'amo!"; an old man suffers when he realizes his wife, stolen from his son, never loved him.

The only character for which one can feel no sympathy whatsoever is The Grand Inquisitor.  Bass Jeremy Galyon has a particularly penetrating sound that was just right for the man that has even the King quaking in his boots!

So aptly cast were these singers and so perfectly sung were their roles that we were on the edge of our seat (a pew, actually).  Large voices all--the kind you rarely get to hear nowadays.

In the role of the page Tebaldo, the beautiful young soprano Madison Marie McIntosh revealed a gorgeous light tone that matched well with that of Ms. Quintero in a highly decorated vocal line.  About to graduate from Mannes, Ms. McIntosh has also made good use of her training with the good folks at Classic Lyric Arts.

The opera itself is one of our favorites.  Happily, the choice was to sing it in Italian in the Modena version, rather than the original French version.  Just as happily, the Fontainebleu scene was included; it shows how Don Carlo and Elisabetta fall in love and thereby justifies all the grief and jealousy and conflict which result.

The opera is about an impossible love; what's a man to do when his father decides to marry his intended bride for political reasons?  The opera is about loyalty; Rodrigo sacrifices his life so that Carlo can fulfill his political destiny.  The opera is about betrayal; Princess Eboli rats out her mistress Queen Elisabetta out of jealousy and envy. The opera is about power; King Phillip II (Fillipo II) has enough power to subjugate the poor Flemish, enough to get the girl, and enough to dispatch his son, but not enough to trump The Grand Inquisitor whose threats are anything but empty. It asks the question "How can love survive in an atmosphere of terror and suspicion?"

Some of our favorite scenes include the one in which Princess Eboli realizes that Don Carlo loves Elisabetta and not her.  What wrath was exhibited by Ms. Quintero! Another favorite was Filippo's aforementioned aria in which Mr. Curran succeeded in evoking our sympathy for this pathetic ruler. Ms. Quintero's "O don fatale" brought down the house.  Let us not forget the scene in which Rodrigo comes to Carlo's prison, accompanied by repetitive alternations between half-tones in the piano,  and expresses his loyalty and wish to die for his friend-- "Io morrò".  Mr. Tamura and Mr. Lickteig were incredibly effective in this duet.  Finally, Ms. Rolwing's handling of the wide jumps in "Tu che le vanità" were impressive.

The score was played on the piano by the always amazing Michael Fennelly.  Although this is one of the few remaining productions that The Met has yet to trash and one which we love, we enjoyed the piano reduction and the opportunity to hear some sensational voices.  

© meche kroop

THE ASTONISHING ASCENT OF THE FALLEN WOMAN

Paul Han and Cecilia Violetta Lopez (photo by Jen Joyce Davis)

It's been over a decade since we heard a thrilling La Traviata.  It was at The Metropolitan Opera and Rolando Villazon made his debut as Alfredo with Renée Fleming as Violetta.  Since then we have gritted our teeth and held our nose through productions that violated the spirit of the work.  Last night at The Kaye Playhouse of Hunter College, Martina Arroyo's Prelude to Performance presented Verdi's masterpiece in a manner that restored our deep love for this work.

Credit can be given to the three principals and to Laura Alley, the astute director.  To begin with the singing, Cecilia Lopez dazzled as the "fallen woman".  Her warm ample soprano has a superb squillo in the upper register and an overall evenness throughout.  Interesting overtones caused the very molecules in the auditorium to dance.  In "Ah, fors'è lui – Sempre libera", she employed different vocal colors to limn her conflicted feelings.

Tenor Paul Han made an excellent Alfredo and sang with maximum musicianship and fine phrasing.  His "De' miei bollenti spiriti " was extraordinary. We suspect he was suffering from a respiratory disorder, having heard him singing in French not too long ago at the Gerda Lissner Awards Recital when his sound was not as covered.

In terms of dramatic impact, the two leads had excellent chemistry and were completely convincing--she as a woman facing death and trying to stare it down by wild living, he as a young man from Provence besotted by this glamorous creature of the night.  His emotional range included rapt devotion, childish rage when he believed himself to be betrayed and later, abject remorse.  Ms. Lopez also created a dramatic arc--the Act I "party girl", the tender lover in Act II, the stoic but suffering woman of Act III and the desperate dying woman in Act IV.

The third main character is Germont Père who has come to rescue his son from this threatening alliance.  The magic in Verdi's music and Francesco Maria Piave's libretto is that each of these characters is multidimensional.  Violetta may be a member of the demi-monde but she has a nobility of character and a readiness to give up everything for love.  Alfredo is loving and devoted but capable of having a childish tantrum.

Papa Germont comes on as a narrow-minded bigot but he is also a concerned father who wants the best for his son and daughter.  Each character undergoes growth.  Robert Kerr, the baritone singing the role of Germont evinced a full rich voice and did justice to his character and his emotional shifts.  His Act II arias bore intense charges.  His shame for his son in Act III was palpable.  When he embraced Violetta as his daughter in Act IV, we could literally feel his remorse.

To speak of Laura Alley's direction also requires a host of superlatives.  She wisely kept the action exactly where and when it belongs; it is a story very much of its time.  Instead of imposing a ridiculous "concept" on the work, she used her creativity to bring in small bits of stage business that deepened our understanding of the characters.

For example, at the end of Act I when Alfredo leaves with the idea of returning the next day, he actually returns at that moment and Violetta rushes into his embrace, which tells us exactly how passionate they are for one another and how impulsive.  This sets us up for Act II.

When Alfredo crumples and discards Flora's invitation, his father picks it up so we don't have to wonder how he can find his son in Act III.  Alfredo comes to Flora's party with a new woman on his arm.  This shows just how hurt and betrayed he feels.  And in Act IV, Violetta kneels on a prayer bench when she questions her god about her fate.  These are just a few of the refined directorial touches that we appreciated.

Baritone Samuel McDonald created a very believable Baron Douphol who is annoyed with the young whippersnapper who is poaching his mistress.  As the threat level increases, so does his rage, building up to the point that he challenges Alfredo to a duel.  And Mr. McDonald accomplished all this while using his generous baritone in some fine singing.

Mezzo Marisan Corsino sang the role of Violetta's friend Flora and soprano Elizabeth Kelsay sang Annina, Violetta's faithful servant.  Bass Eric Delagrange made a fine concerned but helpless Dr. Grenvil who had the air of having seen many young people die of tuberculosis.  Baritone John Callison portrayed the Marchese d'Obigny, Flora's "patron".  The interaction between him and Flora in the palm-reading sequence succeeded as comic relief.  Tenor Tyrone Chambers II sang the role of Gastone.

Conductor Daniel Lipton did his best with the reduced orchestration but we noticed a lack of balance with the brass overwhelming the strings in places, especially in the overture.

Costumes by Charles Caine were gorgeous and totally appropriate.  Violetta had completely different looks in each act.  There was no stinting in that department!

Set and Lighting Designer Joshua Rose designed sets that were appropriate without being overly fussy. 

All said, it was a thrilling theatrical experience and an opportunity to hear some promising voices that we are sure to hear more of in the future.  As you probably already know, Ms. Arroyo's program bridges the gap between academic training and a major professional career.  The fortunate singers who get accepted receive, without fee, six weeks of intense training by the best talents in the field.  Support for Prelude to Performance is always welcome.  It is extremely gratifying to witness the successful results of one's philanthropy.

There will be one more performance of La Traviata Saturday night with the same glorious cast.  And tonight sees the opening of Il Barbiere di Siviglia.  Tragedy last night; comedy tonight!  Need we say more?

© meche kroop

FUN WITH FALSTAFF

Monica Hershenson Thuris, César Torruella, James Stoia, Sophia Benedetti, Brian Long and Roman Laba (photo by Kate Hess)

Falstaff is the supremely confident work of an octogenarian at the top of his game, composed for the love of the art, not to please opera houses, impresarios or singers.  It is Giuseppe Verdi's one successful comedy and might never have been composed without the persuasion of his librettist Arrigo Boito who pulled him out of his well earned retirement.

Similarly, we would like to use our persuasion to lure you away from your usual Saturday night entertainment to attend the final performance of this delightful work presented by the scrappy Utopia Opera in Lang Recital Hall of Hunter College at 7:30.  You will have chuckles aplenty due to the fine dramatic instincts of the cast; you will hear some excellent voices and fine music coming from the 15-member live orchestra conducted with gusto by William Remmers.

What you won't get are lavish production values because Utopia Opera operates on a slender shoestring, the better to keep ticket prices affordable for everyone.  But who needs lavish production values?  It's all about the music and the establishment of coherent characters.  Polymath Mr. Remmers is responsible for the stage direction but gives credit to his cast for the many original ideas they contributed.  This was truly a collaborative effort.

The success of Falstaff rests on the broad shoulders of the eponymous hero (anti-hero).  Sir John, in material extracted from Shakespeare's The Merry Wives of Windsor and also from Henry IV, is a self-deluded buffoon of dubious moral character, enthusiastically rejecting the concept of honor and scheming to seduce two local married women for their money.

But, he must also win our sympathy and be lovable.  This seemingly impossible task was accomplished successfully by baritone César Torruella who exhibited just the right color in his voice as well as dramatic chops.

Stunning in her portrayal of Mistress Quickly, husky-voiced mezzo-soprano Monica Hershenson Thuris acted as go-between, luring the hapless Falstaff into the trap laid by the two "merry wives".  We had to stifle our laughter every time she sang her "Reverenza" with a deep bow.  Likewise her sardonic "Povera donna".

The two wives were likewise excellent as they plotted their revenge.  Soprano Hannah Spierman portrayed Alice Ford; her jealous husband was sung by baritone Stan Lacy who did justice to Ford's monologue in the first act.  The other wife, Meg Page, was well sung by mezzo-soprano Eva Parr.

Every opera should have a romantic interest.  The Ford daughter Nannetta requires a comely young lady with a high bright soprano and Sophia Benedetti totally filled the bill.  Her suitor Fenton was sung by tenor James Stoia and their romantic duets were harmonically fulfilling.

Tenor Stuart Homan produced an entirely different coloration for his excellent portrayal of Dr. Caius to whom has been promised the hand of Nannetta.  What a pleasure it was to see how the women outwit the men on that issue.

Tenor Brian Long as Bardolfo and Roman Laba as Pistola made a fine pair of ladri and added significant moments of comedy, particularly at the end during the marvelous fugue scene when they....(never mind, you just have to see for yourself).

The fifteen musicians played well but we must single out the fine oboist Rebecca Bellacera whose English horn theme in the letter scene stood out and the keyboardist Jeremy Weissmann who had us searching for the harp.

The clever and motley costumes, roughly of the 1980's, were devised by the singers themselves.  This was truly a collaborative project and proves that ingenuity trumps a big budget.

© meche kroop