VIVA LA FRANCE

Michael Brofman, Kristina Bachrach, Miori Sugiyama, Steven LaBrie, Brent Funderburk, Chris Gross, Jill Sokol, Samantha Malk, and Jesse Blumberg

For their eighth season, Brooklyn Art Song Society is presenting La France, a series of recitals of French art song, a thorough exploration of France's contribution to this compelling art form--a happy marriage of text and music--a condition in which the whole is greater than the sum of its parts.

Last night's well chosen program focused on the music of two titans of this art form, Claude Debussy and Maurice Ravel. The latter was born in 1875, fifteen years after the former and thus his music belongs squarely in the 20th c.

Founder and Artistic Director Michael Brofman not only performs on the piano but wrote the extensive and informative program notes which taught us things we didn't know.  For example, we have heard Ravel's cycle Don Quichotte a Dulcinee many times and Jacques Ibert's cycle Chansons de Don Quichotte only twice without knowing the full story. 

Here it is, courtesy of Mr. Brofman. Film director G.W. Pabst commissioned the cycle for a film he was directing and Ravel's ailing health prevented him from completing the commission; it was then given to Ibert. The three songs Ravel finished were published as a cycle. We are glad to have both!

He also explained why both Debussy and Ravel decried the use of the term Impressionism to describe their music. Their precise compositional style is anything but vague and perceptual but rather deep and descriptive. Beware the tendency to categorize!

For last night's exploration of Ravel and Debussy, Mr. Brofman assembled a stellar group of singers, all of whom are familiar to us and cherished for their contributions to vocal performance. The French was impeccable all around and the Gallic style was consistently captured.

The first half of the program was devoted to the melodies of Debussy. His cycle Chansons de Bilitis belongs to our all time favorites and was finely realized by mezzo-soprano Samantha Malk, whose consummate artistry made the subtleties of interpretation seem natural. 

We remember well the first time we realized that the three songs represent stages of a woman's life and that the singer must evolve from the innocence of girlhood through the sensual passion of young adulthood and on to the disillusionment that comes through the destruction of a shared dream.

This was achieved by Ms. Malk in a way that seemed effortless, with shifts from delicacy to the expansion of tone during the heights of passion. Miori Suiyama's pianism shifted right along with her in perfect partnership. Did we mention that Ms. Malk has a gorgeous instrument with which to accomplish this?

Accompanied by the wonderful Brent Funderburk on the piano, baritone Steven LaBrie entertained us next with the cycle Fetes galantes. The program notes list Mr. LaBrie as a lyric baritone but we heard a lot more going on in terms of texture and resonance. Undoubtedly his voice has grown since we first heard him several years ago and our companion thought he was headed toward bass-baritone. Whatever you call it, we found it mature and rich.

We particularly enjoyed the skillful variety of dynamics in "Clair de lune" in which Mr. Funderburk's piano limned moonlight, splashing fountains, and birdsong. In the first melodie "En sourdine", there was an unmistakeable nightingale in the postlude.

To soprano Kristina Bachrach fell the responsibility of bringing out all the melancholy of the cycle Ariettes oubliees, featuring the poetry of Paul Verlaine (also featured in Fetes galantes). These are mood pieces with "C'est l'extase langoureuse" evoking feelings of sensuality and languor.  Gallic melancolie permeated "L'ombre des arbres" and "Spleen" evoked desperation and vaguely unsettled feelings.

It takes a true artist like Ms. Bachrach to do justice to this cycle with its many shades of grey. Only the central song "Chevaux de bois" is filled with energy. The gayness is deceptive and seems to be masking deep seated feelings of the futility of life. Mr. Brofman's piano was particularly evocative there as the wooden horses turned round and round and, in "Il pleure dans mon coeur", as his fingers made the drops of rain fall.

The second half of the program was devoted to the works of Ravel and we were completely thrilled by baritone Jesse Blumberg's storytelling in the cycle Histoires naturelles, settings of text by Jules Renard. In this cycle, creatures are anthropomorphized for our delight and amusement. The texts are perceptive and indicates the poet's response to each critter.

Along with a true lyric baritone that falls beautifully on the ear, Mr. Blumberg is the possessor of considerable dramatic skills, preening like the peacock of "Le paon", gliding smoothly over the surface of the water like "Le cygne", and tormenting other fowl with defensive intent in "La pintade". 

Who has not had a special feeling of privilege when a wild creature comes close! The fisherman in "Le martin-pecheur" has just had that special moment and Mr. Blumberg and Mr. Brofman at the piano shared that moment with the audience.

Ms. Malk returned for the cycle Chansons madecasses which is rarely performed because of the unusual instrumentation necessary to create the exotic environment of Madagascar. Jill Sokol contributed to the multiple sonorities with flute and piccolo with Chris Gross' cello filling in with its own sensuality. Ms. Sugiyama has the softest hands and plays with delightful delicacy.

The multiple sonorities blended into a sea of sensuality in "Nahandove". "Aoua" is a painful anti-colonial rant and "Il est doux" describes a man lying about wanting entertainment and food from the women.  The melody was haunting.

The final cycle was the aforementioned Don Quichotte a Dulcinee performed by Mr. LaBrie and Mr. Funderburk. The range was a perfect fit for Mr. LaBrie's voice and he sang with deep commitment to the music and the text. "Chanson romanesque" is romantically worshipful whilst "Chanson epique" is spiritually devotional.

The final song "Chanson a boire'" is usually performed by the baritone pretending to be inebriated and staggering around the stage. Mr. LaBrie's take on it was more a celebration of joy and we liked that spin a great deal.

There will be four more concerts this season at the welcoming Brooklyn Historical Society which is easily reached by multiple subway lines. There will also be a bonus concert on December 1st at the Old Stone House, a charming venue.

B.A.S.S. keeps ticket prices low so that everyone can enjoy these recitals, which are always well planned and equally well executed. Those who come at 7:00 can avail themselves of lectures by experts in the field. One always sees a packed house!

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NEW, NEWER AND NEWEST MUSIC

Michael Barrett, Naomi Louisa O'Connell, Amanda Lynn Bottoms, Jesse Blumberg, Chelsea Shephard, Amy Owens, and Steven Blier

Our admiration of and affection for a group of young singers swayed us toward reviewing last night's New York Festival of Song. It was indeed a challenge for our 19th c. ears to relate to a program of late 20th and 21st c. music. We love opera, we love stories, we love lieder that tell us a story. So much contemporary vocal music is abstract and offers settings of texts that we would not enjoy reading for their own merits. The music inspired by these texts does not seem to add much.

Steven Blier's program played to a packed house and comprised works of three generations of American composers. The earliest one was Paul Bowles, the next was William Bolcom, and the newest was Gabriel Kahane.

It was a triumph of singing and acting on the part of the artists that overcame our feelings of being lost in abstraction. Our happiest moments came when the material offered a relatable dramatic situation. 

Paul Bowles' Picnic Cantata is a daffy almost surrealist tale about four women planning and executing a picnic. The four women singers appeared dressed in mid 20th c. summer dresses. Their voices harmonized beautifully.

When mezzo-soprano Naomi Louisa O'Connell sang the aria "The Sunday paper is full of news", she related the sad story of a married woman in love with a married man, writing to an advice columnist. She filled the story with pathos and sympathy so the accompaniment by Mr. Blier and Mr. Barrett began to make sense.

In that cycle, we also enjoyed "In sun and shade", in which the lyrical piano line seemed to express the image of a warm day spent  in nature with the kites flying. Some interesting sounds were provided by percussionist Barry Centanni.

Our favorite part of the evening was William Bolcom's Suite from Dinner at Eight which was receiving its world premiere. The opera itself, with libretto by Mark Campbell, will receive its premiere next month at Minnesota Opera; we expect it will be a great success. It is based on a play from 1932 written by George S. Kaufman and Edna Ferber. 

Accompanied by both pianos, soprano Chelsea Shephard used her ample vocal artistry and dramatic skills to portray Millicent Jordan who is planning a dinner party in the opening aria "Lobster in aspic", endowing the role with imperiousness, anxiety, and the best kind of humor--the unselfconscious type.

Mezzo-soprano Amanda Lynn Bottoms was stunning and convincing as the retired actress Carlotta, reminiscing with Millicent's husband Oliver in "Our town".

Versatile baritone Jesse Blumberg was convincing as Oliver Jordan in the troubled aria "You think you're safe", as he faces the failure of his business in The Great Depression.

Soprano Amy Owens, remembered as a charming Zerbinetta at the Santa Fe Opera (summer 2014), gave a moving performance of "My love will see us through"--sung by the Jordan's daughter Paula to her troubled alcoholic lover.

Ms. O'Connell invested Lucy, married to a cheating doctor, with all the ambivalence of a woman who stays with her man despite the pain he causes her. The work ended with the entire ensemble raising their voices in hopeful harmony in "The party goes on" (even without the guests of honor and the lobster aspic).

A world premiere was on the program as well--Gabriel Kahane's Six Packets of Oatmeal, commissioned by NYFOS. The text was a "poem" by Galway Kinnell which was not at all poetic, just the ramblings of an isolated man who fantasizes about imaginary companions joining him for breakfast. Although Mr. Blumberg sang it beautifully, we kept thinking about Schubert's Winterreise as a far more artistic depiction of isolation and mental illness. 

There were some mighty strange sounds emanating from the piano and something we did enjoy was Mr. Barrett's demonstration of how plucking the strings under the lid of the piano could produce some strange overtones. But the text was too idiosyncratic for our taste.

A shorter piece by Mr. Kahane from 2006 was of more interest to us. "Half a box of condoms" from his Craigslistlieder was sung by Chelsea Shephard and offered ample chuckles.

(c) meche kroop

MIRROR VISIONS ENSEMBLE--25 YEARS AND GOING STRONG

Alan Darling, Scott Murphree, Justine Aronson, and Jesse Blumberg

What's a writer to do when some of her favorite singers are performing a type of music she does not appreciate? What this writer does is to go, to listen, and to hope to find a composer whose music in the unappreciated genre might strike her fancy, thereby expanding her horizons.  And that was exactly what happened when we heard songs by Alexander Liebermann.

Last night at the Sheen Center, Mirror Visions Ensemble celebrated their 25th Anniversary and their quartet of fine singers, comprising soprano Vira Slywotzky, tenor Scott Murphree, baritone Jesse Blumberg, and baritone Mischa Bouvier, were joined by guest artist Justine Aronson, whom we hardly ever get to hear. With a group of singers like this, we were sure to hear some music we'd like in this mostly modern program.  And we did!

The opening song "Invitation to Love" was  Aaron Grad's highly original setting of a text by Paul Laurence Dunbar, the son of emancipated slaves who was the first Afro-American poet to achieve international recognition and distinction. He wrote over a century ago and lived only 33 years. The text used by Mr. Grad rhymed and scanned, providing fertile material for Mr. Grad's unusual writing in which soprano, tenor, and baritone were given tuneful melodies, interesting harmonies, and overlapping voices. So few composers know how to choose text and how to make good use of the English language. We can honestly say that we were delighted by this work which won MVE's Young Composers Competition.

What MVE is best known for is presenting a text that was set by more than one composer. We can think of so many such works that inspired composers of the 19th c. (our favorite period). We always love Brahm's peaceful "Feldeinsamkeit" and thought Mr. Blumberg captured the tranquil mood of Hermann Allmers' text, especially the melismatic singing on the word "umwoben" (woven). We never knew that Charles Ives set the same text and it was also quite lovely, as sung by Mr. Murphree.

Both Paul Hindemith and Benjamin Britten set Thomas Moore's text  "How Sweet the Answer Echo Makes".  Ms. Slywotzky sang the Britten beautifully and Mr. Bouvier did justice to the Hindemith.

The other mirror image on the program comprised two settings of a Paul Verlaine text--"L'echelonnement des haies". Mr. Bouvier sang the setting by Debussy and Ms. Slywotzky performed the setting by Poldowska, a female composer whose style seemed very much influenced by that of Debussy. Poldowska was the pen name of a musically gifted woman who led an entirely too colorful life to be described here. Margaret Kampmeier's piano and both singers conveyed the gentle lilting music. Clearly, Verlaine's evocative text dictated the music.

And that is what we find unenjoyable about contemporary setting of English poetry.  The poetry sounds more like prose! We miss the lilt.  We miss the melody.

The second half of the program was devoted entirely to a commission given to Tom Cipullo entitled A Visit with Emily. This was an elaborate work in many parts, mostly consisting of settings of Emily Dickinson's letters to T. W. Higginson and his letters about Ms. Dickinson to his wife. No doubt this is an "important" work but our pleasure came more from the singers than the songs. 

Ms. Aronson has the most exciting timbre in her voice and a vibrato that strikes our ears just right. The opening song quotes Ms. Dickinson's description of her definition of poetry as that which makes her whole body cold and makes her feel as if the top of her head were taken off.  We cannot say that we have ever felt that way from poetry! But music we like will give us goosebumps!

One of the more interesting parts of this cycle was Mr. Blumberg, Mr. Murphree, and Ms. Aronson singing three different poems about fame simultaneously in "Quodlibet I". Another part that we liked had the three of them singing a "Catch" which was brief and pithy--"Women talk: men are silent: that is why I dread women." The humor came from the fact that the men had all the lines with Ms. Aronson making wry faces. The English language lends itself well to humor!

"Passacaglia" was a pithy duet with elaborate variations poking fun at the hypocrisy of people saying they will come again some time.  (Kind of like "Why don't we have lunch some time?" in modern parlance.)

We also found something to appreciate in #17 and #18 when Mr. Blumberg and Mr. Murphree sang simultaneous arias about Wonder, Suspense, and Forgetting.

(c) meche kroop

CAT FIGHT AT THE COURT OF THE SUN KING

THE BOSTON EARLY MUSIC FESTIVAL--VERSAILLES: portrait of a royal domain

Anyone who expects early music to be staid or effete would have had their expectations exploded at the Morgan Library where The Boston Early Music Festival came to show us what the court of Louis Quatorze must have been like. Although the fascinating and erudite talk by Benoit Dratwicki (Artistic Director of the Centre de Musique Baroque de Versailles) was largely drowned out by latecomers clumping up and down the stairs, the program notes by Stage Director Gilbert Blin provided ample information to enhance the experience which, truth to tell, required no enhancement!

We were transported to Versailles in 1683 and it was easy to forget that one was sitting in the lowest level of an important institution in 21st c. New York. The highly creative and imaginative Louis XIV moved the court from Paris to Versailles and provided unlimited entertainment for his fortunate courtiers.  There were separate rooms in the palace for opera, dance, art, and poetry with other rooms allocated to grand buffets and intoxicating beverages. Chocolate was particularly prized and must have been brought over from the New World.

Chamber operas with limited casts were created for the occasion with the subject matter being self-referential.  The courtiers got to witness their own lives at court being reflected back musically.

The opening opera by Marc-Antoine Charpentier, Les Plaisirs de Versailles, was our favorite of the three short operas that were presented. Although the librettist is anonymous, Mr. Blin's scholarship presented ample evidence that the text was written by Donneau de Vise and versified by Thomas Corneille. 

Delightful Canadian soprano Mireille Asselin performed the role of La Musique whose vocal efforts were amusingly interrupted by Canadian mezzo-soprano Mireille Lebel in the role of La Conversation, whose constant interruptions led to a very funny fight between the two women, reminding us of Susanna and Marcellina duking it out in Mozart's Nozze di Figaro. The wordplay (translated into English for the surtitles projected above the stage) accused La Conversation of excessive "ill-timed praise".

Eventually the two women are reconciled and civility prevails so that the next opera can be presented.  Actually what we saw and heard comprised two excerpts from Jean-Baptiste Lully's Atys, said to be the King's favorite opera. Canadian baritone Olivier Laquerre was the perfect choice to play Le Fleuve Sangar with the two divinities of the fountain played by soprano Molly Netter and alto Virginia Warnken who harmonized beautifully. Tenor Oliver Mercer sounded sweet as a river god.

The first part of the program closed with a paean to sleep with Le Sommeil portrayed by Aaron Sheehan, John Taylor Ward as Phobetor, and Oliver Mercer as Phantase.  It was tenor Jason McStoots' performance as Morphee that came across with the clearest diction.  We missed not a single word. We also enjoyed his role in the Charpentier as Le Jeu, who was in charge of gambling.

The Sun King himself, portrayed by Choreographer/Dancer Carlos Fittante, entered in une chaise roulante and Part I of the evening ended with everyone going to sleep.  But not the audience! We eagerly anticipated the second part of the program.

Part II comprised Michel-Richard de Lalande's Les Fontaines de Versailles which involved less drama but more music and dancing.  Thankfully, Louis recovered sufficiently from his gout to participate in the dancing--every step a revelation--all performed by the BEMF Dance Company.  We left les grandes appartements of Versailles, just as the nobles did in the 17th c.  and were transported to the gardens of Versailles where statuary came to life. 

Proceedings were led by Latone (Ms Warnken) with Ms. Netter's gorgeous soprano getting a wonderful aria as Flore.  Mr. Sheehan reappeared as Apollon (reduced to second place by the glory of The Sun King), while mezzo-soprano Sophia Michaux represented Ceres, Goddess of the Harvest. Soprano Margot Rood, Mr. Laquerre, and Mr. Ward made significant vocal contributions.

Baritone Jesse Blumberg reappeared in the role of Comus, as he did in the Charpentier and sang with a rich and satisfying tone.  Mr. Mercer was a welcome presence as Bacchus.

We rarely experience an opera in which every single role is as well cast and as well sung!  It was a remarkable display of vocal artistry and a true ensemble experience.  Factoring in the sensational playing of the BEMF Chamber Ensemble and the glorious dancing of the BEMF Dance Company (Melinda Sullivan, Dance Director) as well as the sumptuous costumes by Anna Watkins, this will be an evening long remembered.

Mr. Blin's stage direction was always on point and Robert Mealy made an excellent concertmaster for this talented group of pluckers and pipers.  Paul O'Dette and Stephen Stubbs are Music Directors.

(c) meche kroop

A VERY SPECIAL PROGRAM FROM MIRROR VISIONS ENSEMBLE

Grant Wenaus, Jesse Blumberg, Scott Murphree, and Vira Slywotzky

Mirror Visions Ensemble is celebrating their 25th Anniversary Season with performances and master classes both in the USA and in Paris. How lucky we feel to have spent an evening with them last night at the Sheen Center, a most suitable venue for a song recital.

And what a recital it was!  The theme was Flights of Fantasy; dreams and imagination were celebrated in protean manifestations. The artistry was incomparable.

The first group of songs dealt with ancient gods; our favorite from this group was Ture Rangström's "Semele" with text by August Strindberg--both early 20th c. artists. Soprano Vira Slywotzky is a truly exceptional singer of great versatility. She used her ample instrument and perfectly calibrated dramatic skills to get across the vindictiveness of the goddess Hera towards the overreaching Semele of the title. Our knowledge of the Swedish language is minimal but it sounded just fine to us.

The next set of songs dealt with Lorelei, the mythical siren who lures men to their destruction.  Always a compelling storyteller and adventuresome linguist, Ms. Slywotzky tackled Zdenêk Fibich's  Czech setting of Heinrich Heine's chilling tale which we had previously heard only in German.

We were on more familiar territory when baritone Jesse Blumberg gave an astonishing account of Robert Schumann's "Waldesgespräch". What astonished us was not just his mellifluous voice but the varied colorations he gave to the seductive horseman and the vengeful Lorelei.  We couldn't help thinking of a certain entitled presidential candidate and hoping he might meet a similar fate.

Ms. Slyvotzky returned with all her cabaret flair to perform the version put forth by the brothers Gershwin. Oh, she was treacherous!  Oh, she was lecherous!  And how cleverly the Gershwins made use of the special qualities of the English language.

MVE has commissioned eighty works over the years, and last night we heard the latest--Scales and Tales by Gilda Lyons whose contemporary take was original and more than usually listenable. Mythological creatures were introduced in texts, one dating from nearly three millenia ago, with the most recent from the mid 18th c.

The strings of the piano were plucked and pounded by pianist Grant Wenaus, producing some of the strangest sounds we have heard coming from that instrument. All three singers took part.  Our favorite was "Unicorn" in which all three singers overlapped lines or sang in unison with strange harmonies and occasional equine snuffling and snorting!

The next segment dealt with birds--the swan and the stork. Mr. Blumberg performed Maurice Ravel's "Le Cygne" and brought out all the gentleness of the Jules Renard text, painting an evocative aural picture for us to visualize. His fine French added to the Gallic flavor and Mr. Wenau's rippling piano lent an aural assist.

The following song, Hugo Wolf's  "Storchenbotschaft" showed off tenor Scott Murphree's artistry. Eduard Mörike's text tells a delightful story of a shepherd learning about the arrival of twins by virtue of a visit from a pair of storks. Mr. Murphree's German was impeccable and his storytelling captured all the humor. We loved Wolf's piano writing here; Mr. Wenau was brilliant.

Even better was Mr. Murphree's performance of Joseph Kosma's 20th c. comic masterpiece "Deux escargot s'en vont à l'enterrement" with text by Jacques Prévert. We don't usually think of tenors having a sense of humor but he sure does. What a charming performance of a charming story!

Ms. Slywotzky and Mr. Wenau almost outdid one another in a gorgeous performance of Debussy's "La flûte de Pan". When we speak of imagination, we must give ample credit to the poetry of Pierre Louÿs! And Ms. Slywotzky's French was perfect. What a versatile artist she is!

There were other delights on the program but let us skip to the 20th c. dragon-ish ending in which all the artists took part.  Lee Hoiby's setting of Lewis Carroll's "Jabberwocky" might have been called "Jabberwacky"!  All three singers joined to exhibit mock terror at this ferocious beast.

Wolseley Charles' "The Green-Eyed Dragon" never fails to delight and we enjoyed the singers' taking turns from one verse to the next. These artists are superb in solos but together they are formidable.

The Artistic Director for MVE is Tobé Malawista. The company has achieved great success in developing an audience for art song with their innovative programming.

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WHAT A WONDERFUL WEDDING IT WAS!

Jeni Houser as Susanna

Jesse Blumberg as Figaro

It was the social event of the season and we were thrilled to be invited.  In keeping with the exclusivity of the event and the size of Count Almaviva's summer residence on Hudson St. in the West Village, it was a small private event, limited to only fifty fortunate guests.

The ceremony was delayed for about two hours and we guests were privy to all the preparations.  We got to chat with Figaro himself as he studied the room allotted by the Count, trying to figure out where to place the marital bed.  We got to greet his bride Susanna as she made her preparations.  

The ceremony, which was delayed due to all kinds of complications, finally took place with the entire household in attendance and guests being treated to glasses of Madeira with which to toast the bridal couple, and some lovely sweetmeats, ensuring that the marriage would be a sweet one.

We are speaking, of course, of The Marriage of Figaro, not the Mozart version, but a relatively unknown version written by Marcos Portugal in 1799 with libretto by Gaetano Rossi, who, like Da Ponte, adapted the work from a play by Beaumarchais. The story was basically the same with a few minor variations.

On Site Opera has made their mark by presenting lesser known operas in site-specific settings. This work marks the centerpiece of their exploration of the Beaumarchais trilogy. Having experienced several of their excellent productions, we count their contributions as crucial to the New York City opera landscape.

The production team is no less than visionary: Executive Director/Producer Jessica Kiger sees her company as complementary to grand opera, not a replacement. Indeed, there is something unique and incredibly special about opera up close and personal.

Stage Director Eric Einhorn has exquisite taste and judgment in each and every production, moving characters around the set and giving them stage business that is meaningful.

Conductor Geoffrey McDonald not only brings out the best in his musicians and singers, but, in this case, collaborated with guitarist José Luis Iglesias to produce a version of the score involving four classical musicians (violin, cello, clarinet, and oboe) with three musicians suggestive of Portuguese fado music (classical guitar, Portuguese guitar, and accordion). 

That sounds strange on paper but the music they made seemed totally appropriate and fell fantastically well on the ear. Furthermore, it helped to get the point across that we were hearing an entirely different work and not a "copy of Mozart".

This being an opera, the voices were, shall we say, "instrumental" in the success of this venture. As the eponymous Figaro, lyric baritone Jesse Blumberg soared gracefully through the material and conveyed the wily resourcefulness of his character.  As his bride Susanna, soprano Jeni Houser sang warmly and winningly. Their chemistry together was wonderful, not only in their duets but in the dialogue.

(In place of recitativi, we had effective dialogue written by Joan Holden.)

As the beleaguered Countess Almaviva, soprano Camille Zamora was believable and sang with warmth and lovely tone. We particularly enjoyed her duet with Ms. Houser.

Tenor David Blalock made a marvelous Count Almaviva, both dramatically and vocally. He conveyed all of the Count's arrogance and eventual contrition.

Soprano Melissa Wimbish made a perfect Cherubino, totally convincing in her mischievous portrayal, and vocally excellent.

For humor, we had the Marcellina of mezzo-soprano Margaret Lattimore, whom we much enjoyed some years ago and were happy to see back onstage. Bass-baritone David Langan was just right as Don Bartolo.

Bass-baritone Ryan Kuster excelled as the slimy Don Basilio and bass-baritone Antoine Hodge was hilarious as the gardener Antonio and even funnier as the notary Gusmano. He kept falling asleep even as he was reading the documents and we couldn't help noticing that his character was the only person in the room who was. (So unlike sitting at the Met surrounded by snoring audience members.)

So--this production was anything but a snooze.  It was incredibly involving and one left feeling as if one was a participant, not an observer.

Had the musical values been any less wonderful, we might have been telling you that the set stole the show.  The performance was a multi-storied and elaborately decorated house on Hudson St. which audience members were invited to explore before the opera began. It was great fun to encounter the cast members already in character.  One truly felt a part of the proceedings.

Costumes by Haley Lieberman seemed to suggest an indeterminate period in the second half of the 20th c.

The opera was sung in English and, although we would have preferred to hear it in the original Italian, we admit that the translation by Gilly French and Jeremy Gray was exceptionally well done, using some clever rhymes like "marriage/disparage".  Contributing to our tolerance for the English was the fact that every cast member had excellent diction, a quality we do not take for granted.

We feel a bit guilty praising so highly a work which few of you will get to see. The four-day run was sold out long ago and we can only hope that it will be presented again in the future so that more people might experience the same thrill that we did.

Obviously the economics of producing such an elaborate work in such intimate quarters for such a small audience to enjoy is an issue. On Site Opera deserves your philanthropy!

© meche kroop

BASS SEASON OPENER SCORES BIG

Charles Weaver, Nils Neubert, Yuri Kim, Kate Maroney, Dmitri Dover, Michael Brofman, Sarah Brailey, and Jesse Blumberg

"The stars at night are big and bright, deep in the heart of...." No, not Texas, but Brooklyn!  What a splendid season opener was presented by the Brooklyn Art Song Society, helmed by pianist Michael Brofman! It was definitely worth an hour on the subway and that's saying quite a lot.

The Lafayette Avenue Presbyterian Church has fine acoustics that provided an excellent venue for the soft sounds of Charles Weaver's lute as he accompanied a group of peerless singers, none of whom lapsed into the boring type of interpretations that often present themselves in the face of early music.

John Dowland's songs were composed four centuries ago yet manage to sound fresh today. The texts are in Elizabethan English; they scan and rhyme and match the lovely vocal lines in a way that is heard no more, sad to say, in contemporary song-makers. Mr. Weaver's playing is beyond wonderful.

The opening number "Unquiet Thoughts" was sung in the most handsome harmonies by soprano Sarah Brailey, mezzo-soprano Kate Maroney, tenor Nils Neubert, and baritone Jesse Blumberg. We thought of a tapestry with 5 threads woven together, appearing together, separating, overlapping.

The remaining songs held to that impossibly high standard. Like songs of every epoch, the inspiring texts have to do with love--love longed for, love achieved, love unrequited.  Mr. Neubert has the sweetest tenor and a fine vibrato that was perfect for "Come Again: Sweet Love Doth Now Invite". No less sweet was Mr. Blumberg's baritone in "Sweet Stay a While".

Several songs followed that were not about sweetness ; but perhaps the sweetness of longing is a different kind of sweet. In "Flow My Tears", Mr. Blumberg matched perfectly with Ms. Maroney. and the ensemble returned for "Would My Conceit".

The singing was just as fine in the second half of the program although it seemed to our ears that Benjamin Britten's arrangements of Henry Purcell's delicate songs was a bit heavy-handed and overwhelming. There is nothing new in a composer wanting to put his own stamp on other composers' works but our ears are better attuned to the delicacies of the 17th c.

Several of the songs had been heard mainly sung by counter-tenors and were, last night, strange to the ear.  Accompanied by the wonderful Yuri Kim on the piano, Mr. Neubert and Mr. Blumberg gave an exuberant account of "Sound the Trumpets".

"Music for Awhile" is one of our perennial favorites and Mr. Neubert sang it well over a piano arrangement that sounded strangely portentous.  But that's the way Britten heard it, we suppose.

Mr. Blumberg sang "Mad Bess" with his customary skill at storytelling. We have been enjoying his singing for over a decade and noticed new depth and breadth in the lower register that is most exciting.

Dmitri Dover, always excellent, took over the piano accompaniment for the next set of songs which was given to the lovely ladies to sing. The lyrical "Shepherd, Leave Decoying" united the golden tones of Ms. Brailey with the silvery sound of Ms. Maroney. (Interestingly, their stylish gowns were respectively golden and silver!)

We got to hear Ms. Brailey sing one of our favorite songs "Sweeter than Roses" with a rather romantic piano part and the lovely "Evening Hymn" sung by Ms. Maroney. Ms. Brailey returned for a stunning solo "The Blessed Virgin's Expostulation" in which Mary expresses doubts in her faith, accompanied by Mr. Brofman himself. Very moving.

The remainder of the season continues its focus on England. On October 6th one can hear more Britten and some settings of Shakespearean text, at Deutsches Haus at NYU.  And on Oct. 22nd there will be a celebration of Ned Rorem at Bargemusic.

(c) meche kroop

CHABRIER ET SES AMIS

Vira Slywotzky and Jesse Blumberg

Is one allowed to have fun at a recital?  We certainly hope so. So many of them are serious affairs; we emerge feeling deeply moved (or not) but it isn't often that we leave grinning from ear to ear.  Before last night, Emmanuel Chabrier was just a blip on our radar screen but today we see him in an entirely new light, thanks to The Mirror Visions Ensemble who presented the work of Chabrier and his circle; it was a lighthearted oeuvre comprising his music (setting of texts by Verlaine and several other poets), his amusing and original letters (which were set by Christopher Berg a few years ago), and also works by Poulenc, Duparc, Chausson and D'Indy.

Chabrier, like so many gifted artists of the latter half of the 19th c., worked as a civil servant but had music as his first love.  He was a man of great wit, judging by a letter he wrote to his boss confessing that his absence from work was due to a trip to Bordeaux to realize his dream of seeing Tristan und Isolde.  This letter was set by Mr. Berg who is, like Chabrier, self-taught; his music is tuneful and nothing like the contemporary music which leaves us with clenched teeth.  Mr. Berg himself played the piano and, along with Gary Chapman, played a four-hand piano piece entitled "Souvenirs de Munich" which included themes from Tristan und Isolde but with irreverent and affectionately sacriligious variations.  The two pianists also performed Chabrier's "Cortège burlesque", a toe-tapping number that pressaged the ragtime music to come in the not-too-distant future.

A trio from Monsieur Chabrier's operetta Fisch-Ton-Kan opened the program; he and librettist Paul Verlaine were barely in their 20's yet the work is totally entertaining as brought to life by soprano Vira Slywotzky, tenor Scott Murphree and baritone Jesse Blumberg who got the chance to show off his terpsichorean skills to the delight of the audience.  All three singers had total command of this material and they closed the program with Mr. Berg's beautiful setting of M. Chabrier's letter to his wife; the phrases were eminently singable and the harmonies gorgeous.

In between we heard chansons by Henri Duparc, Ernest Chausson, and Vincent D'Indy whose vocal line in "Madrigal" was beautifully sung by Ms. Slywotzky; the writing for piano was reflective of early music and simply stunning.  Chabrier, like many other composers, enjoyed writing about animals--in this case, turkeys, cicadas and ducklings--charming miniatures all.

But our favorite work of the evening was a duet entitled "Duo de l'ouvreuse de l'Opéra-Comique et de l'employé du Bon-Marché" for which M. Chabrier wrote both text and music.  Ms. S. and Mr. B. portrayed the two lovers, an usherette and a clerk, who were delighted when the Opéra burned down and the government provided a huge stipend so they could finally marry.  It was a perfect storm of singing, acting, music and text.  What fun!

©  meche kroop

SOMETHING TO CELEBRATE

Last night we celebrated the 25th Anniversary of NYFOS.  We celebrated the vast contributions made by Artistic Director Steven Blier and his Associate Michael Barrett.  We celebrated our broadening appreciation of different types of songs.  We celebrated the countless gifted singers and composers who contributed to the success of this venture over the past quarter of a century.

The woman sitting next to me had never heard of Mr. Blier until she read the touching tribute in the New York Times.  It was a "Where have I been all this time?" moment for her and we understood completely.  Mr. Blier's diligence, perseverance and fine ear for a fine song, combined with his delightful sense of humor have combined to create series of recitals (he doesn't like that word) or events that open our ears to the magnificence we may otherwise have overlooked.  His droll narration and his astute choice of artists continue to delight us.

From the rousing ragtime inflected opener "Play That Barbershop Chord" sung by James Martin to the beautifully sustained final note of "If It's Magic", sung by Darius De Haas, we heard a bountiful smorgasbord of songs in English, French, German, Portuguese and Spanish. 

We just about swooned over NYFOS' Comedian Harmonists, five of our favorite Juilliard guys (Kyle Bielfield, Miles Mykkanen, Nathan Haller, Philip Stoddard and Leo Radosavijevic) clearly inspired by the German Pre-WWII close harmony group, singing "Mein Onkel Bumba".  They not only sang but had the choreographic moves down pat.  Another favorite Juilliard singer, the divine Julia Bullock, began the stirring "I Wish I Knew How It Feels to Be Free" a capella .  Wow!

Not only were Mr. Blier's current students represented but dear friends and colleagues from the past joined in the fun, and fun it was!  Our favorite LMAO moment was Mary Testa singing "I'm Going to Make You Beautiful".  It was equally thrilling to hear William Bolcom play his own composition "Black Max" with Joan Morris singing; "The Bird on Nellie's Hat" from 1908 was another hoot, as was Andrew Garland's "He Never Did That Before".  Sari Gruber's humor was a bit more on the wry side in "Just Like a Man".

In a more serious vein, we enjoyed Joseph Kaiser in Kurt Weill's "Love Song" and even more in Korngold's "Sommer" with his impeccable German.  Amy Burton and John Musto were on hand and we liked the French riffs in "Le chaland qui passe" but especially Mr. Musto's own "Penelope's Song".  There was pathos to spare in a selection from the recently heard (Opera Hispanica) Maria de Buenos Aires sung with great depth of feeling by Jennifer Aylmer and Ricardo Herrera, whose final diminuendo was stunning.

Judy Kaye took a Gershwin tune "Nice Work If You Can Get It" for a nice spin and Mr. Martin used his powerful voice to read a poem by Langston Hughes "Harlem Sweeties" before singing W.C. Handy's "Harlem Blues".  Some Portuguese songs were performed by Ms. Aylmer, Mr. Herrera, Jeffrey Picón, and Jesse Blumberg (who was reviewed two days ago).  The tables were turned on Smokey Robinson's "My Guy", sung by a male quartet (Mr. Mykkanen, Scott Murphree , Mr. Blumberg and Adrian Rosas who had some low notes that would outdo the tuba).

At the conclusion, the audience jumped to its feet as one and expressed their enthusiasm.  Mr. Blier said he hopes to continue for another 25 years.  To this we say..."Cent'Anni!"

© meche kroop

IF MUSIC BE THE FOOD....

Vira Slywotzky, Scott Murphree, Richard Pearson Thomas, Jesse Blumberg

Yes, music is food for the soul and last night at Weill Recital Hall we not only had our taste buds stimulated but we felt deeply satisfied and well nourished by Concert à la Carte, a recital of songs inspired by food.  It is "rare" to experience a recital as pure fun but this one was so "well done" that we can think of no better word to describe it.

Presented by Mirror Visions Ensemble, under the direction of Tobé Malawista, our only criticism was that the program was too short.  We would have welcomed a second half.  Not that any courses were missing.  Not that we left hungry.  It was just like a delicious meal where you want a second helping even though you are satisfied.

The singers included soprano Vira Slywotzky, just reviewed for her winning performance as Madame Paula in LOONY's Sweethearts, tenor Scott Murphree known from NYFOS and baritone Jesse Blumberg who is well known for his 5BMF, Five Boroughs Music Festival.  They were joined by Naho Parrini on the violin, Katherine Cherbas on the cello and Richard Pearson Thomas on the piano. 

Mr. Thomas was also the composer of the final work on the program, a cantata in celebration of sustainable food entitled Clean Plates Don't Lie.  This was a delightful piece of music with plentiful melodic invention and interesting weaving of voices with the strings.  We are always tickled by the skewering of people's obsessions and in this case the entire "farm to table" movement was gently satirized.  We heard arias, recitatives, a passacaglia, a fugue, choruses and a chorale with gorgeous harmonies.  The text comprised lists of ingredients from the menu of a well known restaurant which champions sustainable eating. 

Other songs were no less fun.  We have always loved Cole Porter's "Come to the Supermarket in Old Peking", sung by the trio.  Stephen Schwartz's "Bread" from The Baker's Wife, also sung by the trio, had some enormously clever internal rhymes and made everyone's mouth water.  (Isn't English a great language for clever rhymes?)

"Tango du Dessert" by Christopher Culpo was nothing more than a recitation of the flavors of sorbet at Berthillon.  Mmm!  This was commissioned by Mirror Visions Ensemble and a worthy addition to the program.  Another personal favorite was Leonard Bernstein's "Tavouk Gueunksis" from La Bonne Cuisine, merely a recipe for breast of hen but with music that sounded to our ears a bit like Ravel's Don Quichotte à Dulcinée. Mr. Blumberg sang it with panache.  Betty Crocker's mid 20th c. recipe for Tuna Supreme was the text for Mr. Thomas' other contribution to the program.  Hearing what people ate 63 years ago was a hoot.  Perhaps it's time to stop writing and whip up a batch!

© meche kroop

WILHELM MEISTERS LEHRJAHRE

Franz Schubert was but a babe in arms when Johann Wolfgang von Goethe published Wilhelm Meisters Lehrjahre, a classic of German Romanticism; the two seminal artists never met but Schubert was inexorably drawn to Goethe's poetry and set his work more often than any other poet.  Most lovers of lieder are fond of the songs related to the aforementioned novel, particularly the songs connected with Mignon, one of the characters who made a great impression on the hero during his wanderjahre.

These songs were given a compelling shape by the artistic directors of Schubert@Co. at yesterday's recital.  While Jonathan Ware took on the collaborative piano work for the first half of the program, Lachlan Glen provided the narration directly from the novel, a narration that stitched the songs together into a meaningful evening.  We are familiar with the fine work of all the singers involved in the recital and we have never heard them so intensely involved and so present.  We attribute this to the effective dramatic concept.

Baritone Michael Kelly, who will be singing Die Winterreise next Saturday evening, opened the program with "Wandrers Nachtlied I," D.224 and closed the program with "Wandrers Nachtlied II", D. 768.  His arresting performance was marked by exquisite word coloring such that "süss" sounded just like honey tastes and "schmerz" produced an ache in our chest.  Bass-baritone Evan Hughes performed "Der Sänger" with his customary dramatic flair, but it was "flair squared".

Soprano Raquel Gonzalez sang "Heiss mich nicht reden" and "So lasst mich scheinen", also known as Mignon I and Mignon II from D. 726 and D. 727 respectively, using her gorgeous instrument to successfully evoke the plaints of a troubled child.  Following Mr. Kelly's lovely "Harfenspieler II" D.480, the collaborative piano was taken over by world-renowned Malcolm Martineau who, like Warren Jones, seems to breathe along with the singer.  His participation was evidence of the importance of Schubert@Co.'s artistic mission, a genuine treat which did not in any way detract from Mr. Ware's excellence in the first half of the program.

"Grenzen der Menschheit", D. 716 permitted Mr. Hughes to show off his vocal power at the bottom of the register with consummate expressiveness.  Baritone Jesse Blumberg gave an astonishing performance of "Gesänge des Harfners I, II, and III" (D. 478, 480, and 479 respectively), songs of such grief and loneliness that our eyes filled with tears.  Mr. Blumberg caressed each word, seemingly enjoying the flavor.  The result was riveting.

Ms. Gonzalez followed with "Nur wer die Sehnsuch kennt", D.359, not the version with which we are most familiar, but equally tragic and moving.  Soprano Simone Easthope took over from there with "Kennst du das Land" D.321; her just-right vibrato and involvement with the song made the far-off land for which Mignon pines completely visible in the mind's eye.  She followed this with "Gesange aus Wilhelm Meister I, II, III and IV", all from D.877.  This included a new setting of "Heiss mich nicht reden" and the version of "Nur wer die sehnsucht kennt" with which we are most familiar.  We felt like we were meeting a dear old friend wearing beautiful new clothes.

It would seem that Schubert just loved setting these songs over and over again, that the singers loved singing them, and the audience loved hearing them, as evidenced by the standing ovation at the end of the recital.

One cannot fail to be impressed by the hard work, love and dedication of everyone concerned with Schubert&Co.  There are many more recitals to come and lovers of lieder will be sated by the end of the project.  Or...maybe they will want a repeat next year!

(c) meche kroop

THE SACRED AND THE SECULAR

  It seems clear that angelic voices come not only from Leipzig, as reviewed recently, but also from right here in New York City.  Soloists from the Clarion Music Society were presented by the 5 Boroughs Music Festival (5BMF) in a concert of late 16th century music featuring works by Salamone Rossi and Claudio Monteverdi.  Jesse Blumberg, Artistic Director of 5BMF, lent his fine baritone to the ensemble, while Steven Fox, Artistic Director of the Clarion Music Society and Cantor Joshua Breitzer provided not only strength in the tenor section but educational insights as well.

The Hebrew liturgical music we heard was among the very first polyphonic settings and were performed a capella as they had been heard in synagogues at that time.  Early 17th c. pieces by Monteverdi were performed in Latin as they might have been heard in the court of Mantua.

The second half of the program comprised mostly secular songs in an early Italian that seemed quite understandable.  We particularly enjoyed Monteverdi's "Lamento della Ninfa" in which soprano Sherezade Panthaki bemoaned the loss of her lover while tenors Steven Fox and Daniel Pincus joined Mr. Blumberg in an ensemble which related the story somewhat as a Greek chorus might.  We also loved soprano Molly Quinn's deeply felt performance of "Tirsi Mio" by Rossi; one cannot help noting the strong presence of abandoned women in the secular songs of the period!  (Plus ça change, plus c'est la même chose.)

These songs were accompanied by harpsichordist Bradley Brookshire who also played a dazzling solo--Bernardo Storace's "Ciaconna" which included some rather frisky scale passages and trills.  David Walker performed a solo on the theorbo, a member of the lute family invented in 1580 to accompany singers.  Composed by Bellerofonte Castaldi, it was entitled "Lusinghevole passeggio".  We enjoyed learning a little about this amazing instrument that covers so many octaves and has a neck as long as a giraffe. Carlo Gesualdo's madrigal "Moro, lasso, al mio duolo" was performed with both theorbo and harpsichord.  The harmonies and key changes were strange, modern and arresting.

The lengthy closing number, Rossi's "Eftach na sefatai" was notable for the stereophonic effect of having two antiphonal choirs separated by the length of the chapel.  At this point, we must comment on the setting for this lovely concert.  We felt as if we were in a Renaissance palazzo but we were in a rustic chapel of Brooklyn's Congregation Beth Elohim which, as we learned, was completed just before the stock market crash of 1929.  The floor is composed of variegated stones of grey, green and terra cotta hue.  Wrought iron candelabras abound and the roughly plastered walls are of ochre.  The carved wooden ceiling is actually faux but the painted plaster could have fooled us.  It was the perfect setting for some fine music.  The concert delighted the eye as well as the ear.

5BMF never lets us down!  Unusual programs are brought to the outlying boroughs of New York and ticket prices are eminently affordable.  Watch out for concerts in January in both The Bronx and Brooklyn.

(c) meche kroop