MARTINA ARROYO FOUNDATION GALA

DeAndre Simmons and Jessica Sandidge

How often we have written about Martina Arroyo Foundation's Prelude to Performance! Last night was their 13th gala, held at the JW Marriott Essex House and a significant percentage of the population of Planet Opera was there to celebrate and to honor four major stars.

First on our personal list was the legendary bass-baritone James Morris and the reason we put him first is because his performance as Wotan in The Ring Cycle changed our life. We don't think that experience will ever be equalled; but if bass DeAndre Simmons takes on the role we will be there.  Mr. Simmons' career has taken off since his participation in Prelude to Performance in 2006 and the recognition is growing.

Soprano Jessica Sandidge made a stunning appearance as Mimi in Puccini's La Boheme in 2016 Prelude to Performance and is also experiencing a meteoric rise in her career, winning wonderful reviews for her Micaela in Bizet's Carmen with Heartbeat Opera.

The other three honorees last night included world famous soprano Ailyn Perez whose performances have consistently delighted us; the much celebrated dancer/choreographer/director Tommy Tune; and the beloved Broadway star Chita Rivera. These four honorees have made major contributions to the arts and deserve to be celebrated.

Also deserving to be celebrated is the dearly loved soprano Martina Arroyo who, not content with a major international career, has devoted herself to passing the torch to young artists. There is no shortage of fine singers but the rough cut stones need polishing and that is where Prelude to Performance comes in.

Young artists chosen for the program receive invaluable training in role interpretation by means of studying the background of the opera from an historical perspective, and the study of their character's psychological motivation. Furthermore, there is coaching in the language to be sung. The young artists profit by master classes, which we can attest to after sitting in on most of them.

Two operas are presented each July at Kaye Playhouse, with full orchestra led by topnotch conductors. No expense is spared to create a professional level performance with appropriate sets and costumes. Moreover, the young singers are compensated, thanks to the generosity of supporters.

Anyone who has not attended these performances is truly missing out on a unique experience. Since our first experience attending and reviewing these performances we have never missed a single one. Usually we have enjoyed them far more than performances at "the big house" in Lincoln Center.

A word to the wise--don't miss out. Grab your seats as soon as they go on sale. The operas chosen are from the standard repertory and always suitable for introducing your friends to the wonders of opera.

(c) meche kroop

CARMEN CONDENSED

Doug Durlacher, Sichel Claverie, Brent Reilly Turner

We had barely recovered from the emotional impact of Heartbeat Opera's Madama Butterfly when we were hit with another wallop by their Carmen. When we planned this "double feature" evening, we were expecting a pair of "Cliff Notes" of the two operas.  After all, how much could one say by truncating an opera into an hour and a half?  Surely we were in for a light-weight experience!

How wrong we were! The right people can say a great deal in a short period of time. By knowing just what to strip away and where to put the emphasis, a revised and abbreviated version of a beloved opera can have a huge impact and take us to new places. Co-Artistic Director of Heartbeat Opera Louisa Proske directed a compressed essence of Carmen that left us feeling stabbed in the heart.

This condensed Carmen took us to a new place, a borderland between two places where anything might happen. Kate Noll's set was a guard house with a chain-link fence surmounted by barbed wire. A very athletic Carmen is creeping on the ground, then climbing up and over the guard house. Was it Chloe Treat's amazing choreography that had her crawling in and out of doors and windows trying to escape the guards? In any case, it was raw and realistic.

There is no cigar factory.  There is no bullfight. There is no card game or mountain passes. No Mercedes, no Frasquita, no Remendado or Dancaire.  No Lilas Pastias' Tavern. There is only the story of four people and two triangles. Micaela loves Don Jose. He is conflicted.  His mother wants him to wed this "good girl" and lovely soprano Jessica Sandidge was perfect in the part. She was most affecting in her aria "Je dis que rien ne m'epouvante". Her body language and voice joined forces to make us feel both her terror and her faith.

But Don Jose (the fine tenor Brent Reilly Turner) has become entranced by this highly intense Carmen, portrayed with wild abandon and stamina by the impressive smoky mezzo-soprano Sichel Claverie. Her infatuation fades when she encounters Escamillo--a bullfighter by libretto, but in this case a hopped-up coke-snorting hoodlum. In this role, baritone Ricardo Rivera gave an amazingly physical performance that had elements of humor that the audience appreciated.

Mr. Ricardo is no stranger to singing this role but we are quite sure he has never performed it like this before. One funny moment occurred as he entered with "You know who I am? Play my song!". The audience roared with glee but hushed as soon as the jazz orchestra (saxophone, guitar, violin, viola, bass, and piano) struck up a unique arrangement of "The Toreador Song".

Daniel Schlosberg was Music Director for this production, both conducting and playing the piano, as well as arranging the score. In the afore-mentioned scene, the musicians have joined Carmen and Don Jose and a generic smuggler (Parker Drown) to dance and swill beer in an improvised fiesta under colored lights.

Ms. Claverie gave an enticing delivery of the "Seguidilla" and we thought we wouldn't get to hear the "Habanera" but she sang it after Don Jose stabbed her as a kind of postlude commentary. After the knockdown dragout fight with the violent Don Jose (Fight Director was Rick Sordelet) we don't know how she found the breath to fill out the phrases so well but she did.

So we got most of Bizet's luscious music along with a fresh look at an old favorite.

Beth Goldenberg's costumes were a propos.

The opera world is becoming increasingly specialized with so many small companies occupying their own niches. Heartbeat Opera has established theirs in presenting radical adaptations of the classics, being both physically and emotionally right in your face. That they are speaking to the 21st c. is evident from the youthful composition of their audience. Their new home at the Baruch Performing Arts Center appears to be just right with ample student input!

(c) meche kroop

PRINCE OF PLAYERS

John Kaneklides, Shea Owens, and Jessica Sandidge (photo by Tina Buckman)

Little Opera Theatre of New York, referred to as LOTNY, has been around for a dozen years. Grand in ambition and great in execution, we have trouble with the adjective "little". Founder and Artistic Director Philip Shneidman knows how to put on a show; for the premiere of Carlisle Floyd's opera Prince of Players, he has assembled a talented production team and two wildly talented casts and put them through their dramatic paces with great style.

The libretto was adapted from Jeffrey Hatcher's oft revived play Compleat Female Stage Beauty, which also spawned the film Stage Beauty in 2002. The story, inspired by an entry in the diary of Samuel Pepys, seems to have been little altered. There are two main themes: the first is the difficulty of adapting to a radical change of politics (a very current concern!) and the second is reflective of last night's review of Opera Lafayette's production of Leonore--the theme of a woman rescuing a man.

We are in London in 1661 and Charles II has regained the throne, ending twenty years of repressive Puritan rule. Edward Kynaston, so movingly portrayed by baritone Shea Owens, is famous for performing female roles, since women had not been permitted on the stage. Samuel Pepys (spoken by Hunter Hoffman) acknowledged Kynaston as the most beautiful actor on the stage...and the most beautiful woman in London.

His female dresser Margaret Hughes is not only in love with him but wants very much to be him and to strut the boards. She copies his every gesture. Soprano Jessica Sandidge created a most believable character, carefully balancing her love for him with her competitiveness.

As his friend and lover Villiers, Duke of Buckingham, tenor John Kaneklides was totally convincing and delivered a very fine aria in which every word, enunciated in a plummy English accent, was understandable--something which we wish we could say about everyone.

The pompous King Charles II was played by tenor Nicholas Simpson who also managed some fine singing, superb acting, and clear diction, in spite of being in the upper register a great deal of the time.

As his mistress Nell Gwynne, petite soprano Sharin Apostolou (barely half the size of the King) had the spirit of a woman twice her size. She also longed to play upon the stage and was partly responsible for the King's edict to give women the right to perform. Her big moment came when she sang a folk ballad for her audition, a moment we truly enjoyed.

Bass Matthew Curran portrayed the theater manager Thomas Betterton who will do anything to keep his theater afloat and will steer his ship through the eddies of the current political climate.

Smaller roles were just as well cast and performed. Comic relief was provided by two hilarious performances: Soprano Michelle Trovato played Miss Frayne while mezzo-soprano Hilary Ginther portrayed Lady Meresvale. The scene in which they try to find out Kynaston's gender was hilarious. But it turned ugly when Sir Charles Sedley (effectively played by tenor Neal Harrelson) appeared, seeking sexual favors.  Kynaston played along with a prank in which he tried to sell the favors of his two lady companions. Sedley was outraged and humiliated when he discovered Kynaston's male equipment and developed a vengeful streak.

This vengeful streak led him to have our hero badly beaten, giving Ms. Hughes the opportunity to rescue him and nurse him back to health. Then she does something that leads to his transformation.  More, we will not tell you!

Mezzo Jane Shaulis had great fun with her role as Mistress Revels, putting poor Kynaston onstage in a bawdy performance in a tavern, way beneath his talent but the only job he could get once his roles were taken by women. It was the hallmark of a fine performance to witness Kynaston's descent from fame and arrogance to shame and humiliation--and later to....no, we won't tell you the ending!

The direction was right on point and we felt as if we were watching a fine play. The set by Neil Patel and Cate McCrea utilized the stage of the Kaye Playhouse at Hunter College to create a playing area in the center with balcony seating created on either side with metal risers. It was most effective, as was Nick Solyom's lighting.

Costumes by Lara De Bruijn were outstanding and completely a propos the 17th c.  Wigs by Rachel Padula Shufelt looked great, except for Kynaston's which always looked unconvincing.

So...as theater it worked brilliantly and we were very entertained and also moved by the characters.  But this is an opera and we have yet to mention the music!

Taste in music is a very personal thing and, in spite of giving Mr. Floyd's music our full concentration, we were unable to find much to enjoy, although he is considered America's preeminent composer. After last night's Gavreau and the prior night's Handel, this music sounded unmusical to our ears. We were sort of okay with the orchestral interludes, beautifully played by the orchestra conducted by Richard Cordova. We heard something of value in the sex scene between Kynaston and Villiers. The pompous music for King Charles sounded about right. 

But for the rest of the time we did not experience the music as adding to the drama or the development of the characters. We felt very sorry about that because the elderly Mr. Floyd was present in the audience and we would have so much enjoyed congratulating him, but could not. 

We have heard these singers on prior occasions and they all have splendid voices but this music could not show them off to their best advantage. For that, one needs long legato lines.  English text discourages that feature.

It is just possible that this story does not require music. Or perhaps it wanted something more melodic. Perhaps Mr. Floyd's music will thrill you in a way that did not thrill us.

We are however pleased to recommend the production and hereby let you know that this superlative cast will be singing the Sunday matinee performance.  Examination of the other cast lets us advise you with confidence that tonight's performance will be just as enjoyable.

(c) meche kroop

OH THE INTIMACY OF IT ALL!

Chunfeng Li, José Rubio, Eric Delagrange, Jeff Byrnes, and Dángelo Diaz (photo by Jen Joyce Davis)

Regular readers will recall the high esteem in which we hold Martina Arroyo's Prelude to Performance which has been providing training and performing experience to young artists for the past dozen years. So let us get down to the specifics of last night's La Bohème--the anti-Zeffirelli version. We do not mean to express the slightest dissatisfaction with that version and would despair if the Met replaced it, as it has regrettably done to so many of Zeffirelli's masterpieces.  We only want to suggest that P2P has provided a different way of looking at this intimate story--a story of growing up and accepting reality.

P2P's annual performances always accomplish miracles by focusing on the interactions between the characters, who seem to grow before our very eyes. In the horseplay of Act I, Scene I (pictured above) we see a group of young men sharing a garret in Paris, unable to afford food and wood for the fire.  We do not need modern dress or contemporary slang to identify with their predicament. They joke and tease and cheer each other up. They pull a fast one on their landlord Benoit (a hilarious performance by Eric Delagrange) by getting him tipsy, drawing him into a confession of sexual escapades, and then mock-shaming him.  So puerile!  So believable! How can one not think of the young men who converge upon NYC and cram themselves into a tiny space, just for the stimulation of living here! 

Director Ian Campbell did not miss a single trick in illuminating the personalities of the frustrated writer Rodolfo (Dángelo Diaz), the equally frustrated painter Marcello (Jeff Byrnes), the unshaven philosopher Colline (Chunfeng Li) and the musician Schaunard (José Rubio) who seems to be the provider of sustenance.  

When Schaunard is relating the amusing story of how he earned money to bring home the bacon, no one pays attention because they are only interested in stuffing their famished mouths. Joking about saintliness and placing a large round platter behind the head to look like a halo in a religious painting was another clever touch. Every bit of Puccini's well-considered orchestration was employed to support the onstage action.

When Mimi (Jessica Sandidge) enters to get a light for her candle, the entire mood changes and the frisky tunes turn lyrical. Anyone who has had the experience of meeting a potential lover will recognize the verisimilitude of this scene in which Rodolfo sings about himself in boastful terms and Mimi, visibly impressed, searches modestly for something to relate about her own life, and gradually opens up emotionally and vocally.

Eric Delagrange, Claire Coolen, and Jeff Byrnes (photo by Jen Joyce Davis)

In Act II, the wealthy fop Alcindoro (Mr. Delagrange, revealing significant versatility) is outraged by the behavior of Musetta.  We have never witnessed a production that so cleverly used Puccini's music.  Three admirers of Musetta successively present her with roses (yellow, of course) just before her big aria--all set up by Puccini's score and realized by Mr. Campbell.  

She inches her chair ever closer to the man she really loves (Marcello), leaving poor Alcindoro sitting at the table by himself. This "relationship" makes one think of the wealthy older men and the nubile young women who meet on the website "Seeking Arrangements". Sugar Daddies and Sugar Babies. Everything old is new again.

Even Mimi's character is revealed a bit more in this scene as she flirts with a gendarme--and Rodolfo's jealousy emerges.  He has just bought Mimi a bonnet and now that he has invested in her he needs to protect his investment. 

The rowdy children and their put-upon mothers were well-portrayed as the children begged for toys from Parpignol (portrayed by Sergio Stefani).

In Act III, the scene opens at the city gates with a passive-aggressive Sergeant (a most believable Thomas Petrushka) who is going to take his sweet time drinking his coffee while the tradespeople are kept waiting in the cold. Does this not remind us of civil servants of today?

Mimi has come to find Marcello to get some advice. Rodolfo's affections have cooled. Marcello confronts him and, like any young man of today, he first blames Mimi for being a flirt, but finally owns up to his deepest fear-- she is terribly sick and he cannot even express the fear that she will die and leave him.

Mimi is hidden in the shadows eavesdropping and one can witness her dawning realization of the extent of her illness. We get to see her inner strength of character. We feel the grief of young people whose lives will be terminated before they have time to have lived them.  This act was a masterpiece of direction and acting.

Dángelo Diaz and Jessica Sandidge (photo by Jen Joyce Davis)

In Act IV, Rodolfo and Marcello pretend to each other that they don't care about their lost loves but their private thoughts are revealed both musically and lyrically. Who cannot relate to these attempts to deny loss! We get to see Musetta's noble character that underlies her superficial histrionics.

When Colline clutches the overcoat he will pawn we know he is bidding farewell to far more than a piece of clothing.  Can we all remember a time when we suffered a nearly unbearable loss and just knew that our lives would never ever be the same?

This group of six young people will be reduced to five. In some ways, their lives will be diminished but in other ways they will have grown up.  The final tableau when, one by one, they realize that Mimi has died was a stark one and perfectly matched Puccini's tragic music.

We have dealt at such length with the characters themselves because that is what struck us most. A sterling production like this one causes us to relate to people of other times and places. P2P's productions are always authentic. Mr. Campbell's direction served the libretto of Luigi Illica and Giuseppe Giacosa. There was no pandering to "modern audiences".  There was no self-serving egotism.

  

But let us not neglect the musical and production values which underlay the excellence of the drama. The singing was of the highest order and always supported the characterization. Ms. Sandidge's lovely soprano was appropriately colored between moments of joy and moments of anxiety and pain.  It was a knockout performance.

Another knockout performance was that of Ms. Coolen whose robust soprano sailed over the orchestration and was accompanied by all the right gestures of a woman accustomed to manipulating men. Her delivery of "Musetta's waltz" had an astonishing diminuendo that was spun out beautifully for a time in which we held our breath!

Mr. Diaz' tenor has a wonderful timbre and he established good chemistry with Ms. Sandige. Like many young tenors, he will have to learn not to push for his high notes but rather to work on floating them. 

Mr. Byrnes uses his baritone instrument well and impressed us with his sincerity and musicality.

We have nothing but admiration for the way Mr. Li's bass resonated in his "Vecchia Zimarra" and for Mr. Rubio's recounting of the tale of the parrot and the poisoned parsley.

Mr. Delagrange delighted and Mr. Petrushka evoked some knowing nods.

Maestro Willie Anthony Waters led his orchestra with clarity of line but occasionally overwhelmed the singers. There were times when we wanted him to just lighten up.

Noby Ishida provided for a very well trained chorus.

Charles R. Caine's costume designs were just about perfect.

April Joy Vester's set utilized something resembling large shoji screens as background which served well as garret windows but were just confusing in the Café Momus scene as well as the scene taking place at the city gates. However, it did allow for short intermissions! The furniture in the garret was appropriately minimal.

Joshua Rose's lighting was effective, indicating when the fire in the stove was burning hot or dying down.

Italian diction was excellent, with much credit to Italian coach Sergio Stefani. We never noticed when the titles vanished for we-don't-know-how-long. Every word was crystal clear.

This most remarkable success came out of six weeks of intense work in every aspect of performance and the establishment of a true ensemble feel. All this training is provided at no cost to those accepted into the program; and this year, for the first time, the generosity of patrons permitted stipends for the performers. 

There will be another performance with this same wonderful cast on Saturday night. And on Friday night and Sunday matinée, other members of this program will perform Johann Strauss' Die Fledermaus. We can scarcely contain our excitement.

(c) meche kroop

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

AN AUTHENTIC BOHEME TO START THE YEAR

An 1840's Xmas Eve celebration enjoyed on New Year's Day 2016

We almost always prefer to see an opera presented in its original time and place; how pleased we were that our first experience with Amore Opera honored Puccini with such an authentic production of his 1896 opera La Bohème. Now beginning their seventh season, Amore  Opera has found a worthy home in the Sheen Center on Bleeker St. Although it is a challenge for the singers to sing over the orchestra when there is no pit, they can all be congratulated for turning in some impressive performances. The theater is sized just right for intimacy, allowing everyone to feel a part of the action.

Although there are four casts, we were delighted with the cast we heard last night.  Tonight's performance and the Sunday matinée may have different casts but they will probably excel to the same extent. The lead roles were performed with vocal excellence and dramatic validity. Soprano Jessica Sandidge made a touching Mimi and sang with a beautiful bloom at the top of her register. Her characterization had her living up to Rodolfo's description of her as "always smiling". Even as she lay dying in Act IV, her focus was not on her death but on her happy memories with her beloved.

Tenor Edgar Jaramillo is well known to us and has always sung right from the heart. Thankfully, he never pushes at the top of his register but sings with ease. In this role he had the opportunity to do the bonhomie stuff with his flatmates and also to portray the playful lover and the despairing one as well. All this was handled with aplomb.

Baritone Robert Garner made a splendid Marcello revealing a great deal of insight into an ambivalent relationship. He is madly in love with a difficult woman--the theatrical Musetta--and often enraged by her. His instrument is substantial and lovely to hear.  It's quite a leap from the Metropolitan Opera Chorus to a leading role and he crossed that river as if it were a rivulet. The Act III duet with Mr. Jaramillo was a delight to the ear.

As Musetta, soprano Iris Karlin commanded the stage with her arresting presence and fine bright voice.  It was lovely to hear and to watch a different side of her character emerge in Act IV as she focused on making Mimi's last moments on earth more tolerable.

We also enjoyed Dan Boruchowitz's fine baritone in the role of Schaunard. In many productions, his Act I description of how he came by the funds for filling the table of his flatmates goes rather unnoticed.  Here, the joke was that the bohemian boys paid him no attention while the audience got an earful of gorgeous singing. We paid attention even as they ignored him.

Somewhat disappointing was the Colline of bass Gennadiy Vysotskiy. He neither looked nor sounded like a member of the group although he participated generously in the horseplay. "Vecchia zimarra" is one of our all-time favorite arias but this time it did not even achieve minimal standards.

Character baritone David Seatter was completely marvelous in both roles--as the landlord Benoit and as Alcindoro, Musetta's wealthy "patron".

The entire affair was well directed by founding Artistic Director Nathan Hull. There were so many directorial flourishes that made each scene seem real.  For example, one of the customs officials (Thomas Geib) skims something off the top of a merchant's basket and slips it into his pocket. (The other customs officer was played by Peter Nasonov.)  In Act II, the wonderful waitress (Julie Longmuir) must run after a thieving street urchin. It's those little touches that provide verisimilitude!

We have heard Jason Tramm conduct on a few occasions and have admired his batonery. (Pardon the neologism.) But last night the orchestra was ragged with several instrumentalists off pitch. Particularly egregious was the flute in Act I. The musicians gradually came together as the evening wore on but failed to achieve the phrasing and pacing that we want in Puccini.

Costumes by Ghislaine Sabiti were appropriate with the bohemian boys wearing tattered but period appropriate suits. Musetta looked as theatrical and overdone as one would hope for with Mimi's dress of modest cut and hue. We have no idea who did the wigs but, well, they were disastrous. Ms. Karlin had bright red masses of curls while Ms. Sandidge's beautiful blond hair was covered by an ugly black wig that wasn't even stylistically appropriate. We believe that her blond hair just wouldn't do because the libretto specifies brown.  But black isn't brown!

Set design by Richard Cerullo utilized painted backdrops that worked just fine. The small stage worked very well as a garret. And in Act II, he somehow he made it work as Mr. Hull filled the stage with just enough people to convince us that we were in the Quartier Latin on Xmas Eve. The chorus sang well under the direction of David Macfarlane.

Andrew Trent's lighting made an attempt at artistry but didn't quite succeed. Lights were raised and dimmed to make a point but were not effective.

Those minimal cavils aside, the production was a most enjoyable one. The best proof is that we are still thinking about the characters and hoping that Marcello and Musetta will be sufficiently shocked by Mimi's death to concern themselves more with the health of their own relationship than they were with their power struggle. We wonder how long it will take Rodolfo to recover and when he will find a new love. Death is such a shock to young people! Such is the power of opera that, when well done, we can identify with the characters, even when separated by an ocean and two centuries.

(c) meche kroop