THE FALLEN WOMAN

 Scott LaMarca, Aurora Bella Geis, Joe Gansert. John Tedeschi, Shaina Martinez, Michael Celentano, and Ema Mitrovic

There are rare occasions when the confluence of story, music, libretto, and performances conspires to produce a state of total immersion. One loses awareness of the identity of the artists and gets immersed in the lives of the characters.  Such is the power of great theater and opera is, fundamentally, theater.

This situation occurred last night in a large bare room of a decrepit building in the Bronx, with the barest of scenic elements, when The Lighthouse Opera Company presented Verdi's masterpiece La Traviata. So mesmerized were we that tears starting rolling down our face and we had to choke down sobs until the final tragic chord. That is Art (capital intentional).

An 1848 novel by Alexandre Dumas Fils was transformed into a play entitled La Dame aux camélias.  Seen and admired by Verdi,  Francesco Maria Piave was engaged to adapted it as a libretto. The story is a moving one about an unfortunate young woman whose past precludes the possibility of the life she might have enjoyed with the man who loves her. 19th c. morality has tarred her with a fateful brush. The story is replete with psychological resonance that Verdi's music plumbs with astonishing depth.

Since the performances were so outstanding and we have no criticism to offer, let us then look at the artistry serving this psychological depth that made the production such a compelling one. This intensity cannot be achieved without a deep understanding of the characters and their individual struggles.

For example, in Act I, our heroine Violetta (Shaina Martinez) appears to be a fun-loving member of the demi-monde, a party girl if you will, a "kept woman" whose patron is the wealthy Baron Douphol (baritone Jay Stephenson). Deep within her psyche and just waiting to be tapped is the desire to be really cared for. It is threatening to her to even admit this to herself; clearly she does not feel she deserves such love. But it arrives anyway in the person of Alfredo Germont (Michael Celentano), the scion of a conservative Provincial family, introduced to her by his friend Gastone (tenor Scott LaMarca) at a party. In a clever touch by Director John Tedeschi, Gastone peeks through a curtain to watch their interaction.  

The highlight of the act is Violetta's barely accompanied "É strano!...Ah fors'è lui" in which she exposes her inner desires. Her ambivalence is expressed in "Sempre libera". Ms. Martinez' artistry clearly showed that Violetta is afraid to give herself to the importuning of Alfredo and needs to defend a fragile core.  Her independence is a pose. Of course, Verdi's music is there to illustrate the conflict but one needs a very special soprano to capture it as accurately as Ms. Martinez does. Every bit of legato phrasing limns her desire and the fiery cabaletta was informed by all the the histrionics of desperation.  Violetta is dancing on the edge of a volcano, semi aware that her tuberculosis will eventually take her young life. 

There is more depth to come in Act II. Violetta has abandoned herself to the simple life away from the distractions of Paris. Verdi's music tells us how happy she is living with Alfredo. But much pain is coming. Germont Père (baritone Joe Gansert) has discovered his son's "scandalous" behavior and is concerned about the threat to his daughter's conventional betrothal. There is a shattering scene between him and Violetta as her dignity converts his scorn into compassion.

"Pura siccome un angelo" gets to Violetta. Until Ms. Martinez' performance of the role, we never understood why Violetta would accede to his demand that she give up Alfredo. Now we understand. She never had a protective father and she identifies with Alfredo's sister. She needs fatherly approval just as much as she needs Alfredo's love. This insight struck us like a bolt of lightning! It's all there in "Dite alla giovine", just waiting for the right soprano to bring it out.  Ms. Martinez sing it with an affecting pianissimo that demonstrates her defeat.

A moving scene between father and son shows us a great deal about the value placed on family loyalty.  Giorgio actually lays a guilt trip on his son in "Di Provenza il mar il suol". He appears to be comforting his broken hearted son but we can see that family loyalty is more important than his son's happiness.  Very 19th c.!  Mr. Gansert showed Giorgio to be a master manipulator, working on his son as he did on Violetta--all in the service of respectability.

And what about the conflicting feelings of Alfredo? In order to overcome his grief, he must cover it up with anger and spitefulness. He insults poor Violetta at Flora's party and horrifies his father who never anticipated such behavior, so inconsistent with his own values. Perhaps he doesn't want his son consorting with a fallen woman but he will not stand for uncivil behavior.

Violetta's tuberculosis, which had improved whilst living peacefully in the country with Alfredo, has taken a turn for the (much) worse in the final act. She is barely holding onto life waiting for the Germonts to come and see her. She tries to rally but cannot. One gets the impression that Giorgio's presence means as much to her as Alfredo's, lending credence to our understanding of Act II.  In a tearful farewell she unselfishly wishes Alfredo to find a worthy young woman and to give this young woman her very own portrait. Surely Dumas shows us that there can be a nobility in society's outcasts.

At this point, given the artistry of the cast, we have dissolved into a pool of tears. We had forgotten the singers and remembered only the characters. This is only possible when a singer's technique is so flawless that it doesn't call attention to itself.

Yes, we could mention the gorgeous timbre of Ms. Martinez voice (although the program describes her as a lyric soprano, we heard a lot of spinto quality in its ampleness and resonance). We could describe the effective phrasing and the breathtaking messa di voce. We could tell you that we have never heard Mr. Celentano sing better or how Mr. Gansert's sturdy baritone added luster and believability to his characterization of Giorgio.

And let us not forget the fine performance of mezzo-soprano Ema Mitrovic in her sympathetic portrayal of Flora and the arrogant but somewhat indifferent characterization of the Baron by Mr. Stephenson.

John Tedeschi's direction was effective with several interesting novel touches such as Violetta shredding her camellias in the final act and the aforementioned bit with Gastone gleefully spying on the friend he has "set up". In the second act, he has our heroine mouthing the words along with Alfredo's singing, demonstrating their complete emotional resonance.  Our only quibble is the setting of the opera in the Bronx during the Spanish flu epidemic of 1918.  It did justify the use of masks by some of the performers but the masks are clearly 21st c. ones.  More significantly the libretto mentions Paris and carriages and other 19th c. accoutrements. It felt disjunctive.The costumes seemed to belong more to the flapper era of the 1920's. 

Such quibbles seem unimportant in light of the psychological insights brought to us by Ms. Martinez whose towering vocal skills were matched by depth of understanding. Her cast mates were all caught up in this immersion that made Violetta and her sad story so very real to us.

Maestro Stephen Francis Vasta had two dozen musicians at his command and made some fine music. No complaints on that score (pun intended).

The experience was intense and has stayed with us.  This wasn't like going to the Met and boasting about hearing (insert name of famous singer) and singling out a particular high note of given soprano or the tenor's voice cracking or any other small detail. This was living breathing Art.

© meche kroop

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. 

© meche kroop

COURTESANS AND THE MEN WHO LOVE THEM

Jonathan Tetelman, Emily Birsan, and Ethan Simpson

We can think of no opera we like better than La Traviata, nor can we think of a heroine who touches our heart as deeply as Violetta does.  Readers, you are about to hear an extravagant encomium. We have seen dozens of performances of Giuseppe Verdi's masterpiece and have never seen one so perfectly cast as the one we saw last night at Merkin Hall.

Who but Daniel Cardona of Martha Cardona Opera takes the time and does the hard work to discover young artists with big impressive voices and fine technique--and to give them a New York stage on which to show their stuff. Production values in this semi-staged production may have been at a minimum but the casting was first rate.

As the tragic heroine Violetta, soprano Emily Birsan used her generous instrument with emotional accuracy by means of vocal coloration and consummate skill in the fioritura, which never seemed gratuitous but always connected with the feelings of Piave's text.

We love Violetta for her dignity and emotional freedom and we love witnessing her characterological growth from the wild spirit of Act I to the desperate frail creature she becomes by the end. We watch and hear her deal with ambivalence in Act I; what independent woman has not felt such ambivalence about accepting love into her life with all its concomitant risks! Ms. Birsan captured it all in a way that no one could fail to grasp.

Just watching her blossom in Act II, only to have her butterfly wings pulled off by the self-righteous father Giorgio Germont, who manipulates her into leaving his love-besotted son by playing the religion card. Stunned by the magnificent performance of baritone Ethan Simpson, we observed this stiff-necked provincial soften when faced with Violetta's dignity and devotion.

In Act III one could observe the outcome of her enormous sacrifice. Love is the best medicine but loss of love is totally toxic. Her frailty and thin thread of hope kept the audience riveted until she collapsed into Alfredo's arms.

And what an Alfredo we had last night!  Tenor Jonathan Tetelman is a star on the rise and if you were there last night, you got to say you "heard him when". Finding a tall handsome tenor with terrific tone is almost impossible, but one with superb technique is beyond belief. We heard marvelous phrasing, lovely legato, superb command of dynamics, and a variety of vocal colors. Significantly, he doesn't push his voice but floats the tone confidently.

Alfredo also grows as a character. He begins as a love-sick pup in Act I and blossoms into a loving man in Act II. His apparent rejection by Violetta creates grief and then anger. The sympathy of his father in Act II becomes disdain and shame in Act III when Alfredo behaves badly toward Violetta.  Only in Act IV is there resolution, when all three principals can share their grief.

What a pleasure to see three young artists interact so believably! It was impressive to watch the young Mr. Simpson convince us that he was a middle-aged father by the manner in which he moved his body and the authoritative tone in his voice! This is surely a baritone to watch! Both his arias in Act II were outstanding.

Another dramatic "deception" was seeing the beautiful young soprano Maria Brea transform herself into the elderly and exceedingly dowdy Annina. Although she had but a few lines, they were well sung.

As the unpleasant Barone Douphol, we had the excellent baritone Eric Lindsey whom we always enjoy.  He and Mr. Tetelman created the requisite tension in Act III without benefit of a gambling table. Tenor Ganson Salmon was effective as Gastone, Alfredo's friend. Mezzo-soprano Stephanie Sanchez made a fine Flora with bass Neil Eddinger as her Marchese.

In a semi-staged production like this, the acting took place in a narrow space in front of the orchestra with only a couple pieces of furniture. It is testament to the vocal and dramatic skills of the principals that we were able to focus on them and to create scenery for them in our mind's eye.

Maestro Gregory Ortega is a conductor of precision; he evoked an excellent performance from the Martha Cardona Opera Orchestra. We could not have asked for better musical values. We might have asked for better titles, but if the only quibble we have is with a recalcitrant projector, that should tell you how much we enjoyed this production.

The highly regarded Jestin Pieper served as backstage conductor (Mr. Tetelman's offstage singing at the end of Act I sounded great as did the Carnival crowd in Act IV) and master of the excellent chorus who portrayed party-goers.

Watch out for these rising stars!  May they fill the operatic firmament with their glitter.

(c) meche kroop

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.

(c) meche kroop

A FINE ROMANCE

Kristina Malinauskaite and Michael Celentano

Although departing early from Verdi's masterpiece La Traviata in the middle of Act II seemed like a dreadful deprivation, in a sense it allowed us to retain the image of a happy love affair that just might possibly work out once Germont père was mollified. Our early departure was not due to any disappointment but rather due to a prior reviewing commitment. Still, we were not going to miss the opportunity to hear soprano Kristina Malinauskaite sing the title role.

Everything was there in the performance--the dignified bearing, the depth of feeling, the brilliant upper register, and above all, the ability to convey the conflict between the high life and the love life.  "È strano....fors'è lui" followed by the cabaletta "Sempre libera" illustrated this very effectively. Ms. Malinauskaite had exemplary control over the dynamics and produced a well modulated portamento.

Her duet with Alfredo, portrayed by the appealing tenor Michael Celentano, was quite lovely.  Mr. Celentano must be commended for singing off the book, which helped enormously in his connection with the audience. When the divine Ms. M. was off the book, she too grew in connection.

We also liked mezzo-soprano Christine Duncan as Flora, Violetta's friend and fellow party girl.

In Act II we got to hear baritone Robert Heepyoung-Oh as Giorgio Germont in "Pura siccome un angelo". His is a large and substantial sound and his formal demeanor was just right for the role. His duet with Ms. Malinauskaite "Dite a la giovine" was excellent.

Although the chorus sang well as a unit, some of the voices used in smaller roles did not project well.

Artistic Director of West Side Opera Society David Clenny provided the accompaniment for this semi-staged performance. We barely noticed the lack of a stage set.  It's all about the voices, right?

(c) 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

PRELUDE TO PRELUDE TO PERFORMANCE

Ira Siff, Master Teacher (amongst other things)

Since the very first time we attended a performance by the young artists in Martina Arroyo's summer program we have been convinced that opera will survive the many threats people talk about--financial and artistic.  We found ourselves marveling over each performance, saying to anyone who would listen "Wow, that was the best Contes d'Hoffman (insert anything in its place) we have ever seen!" or "I never enjoyed L'Elisir d'Amore that much".

It Italy under Berlusconi, funds for "high culture" have evaporated and the patrimony of that country is nearly on its deathbed.  But here in New York opera is alive and well in the hands of the conservatories giving exceptional training to ambitious young singers and in the hands of small opera companies giving these artists opportunities to be on stage.

Prelude to Performance is a program that provides comprehensive post-graduate training to these gifted young artists.  Those talented and fortunate enough to get accepted receive the most refined training free of cost over a period of six weeks. The roles must be memorized in advance so the students can focus on stagecraft, movement, dramatic interpretation, psychological motivation of the character, diction and even historical perspective.  This is a total immersion program!

Individual coachings are augmented by master classes given by superb teachers like the beloved Ira Siff who spent three hours yesterday coaching the singers who will assume the roles in the upcoming La Traviata and Il Barbiere di Siviglia (July 10-13) and also to those who will cover these roles.  

We were fortunate enough to sit in on Mr. Siff's class and were duly impressed by the wisdom and experience he offered so generously; we were equally impressed by the alacrity with which the students absorbed his suggestions given in the most supportive and unthreatening manner without a trace of any attempt to control.

We were particularly impressed by his work with soprano Cecilia Lopez who will be singing the role of Violetta.  She sounded completely amazing to our ears at the beginning but after working with Mr. Siff there were numerous subtle improvements based on a deeper understanding of the character's psychology.  

In "E strano...Ah forse lui" Violetta can deliver the first one rather matter

-of-factly to set up the repeat in which she realizes just how strange her unexpected feelings are. She is struggling with her ambivalence and Verdi's elaborate markings of the score, when obeyed, are blueprints for the illustration of her emotional state.  For example, there are several instances of three staccato notes followed by two accented notes--a heartbeat motif.  We have never heard this before but we certainly will be hearing it from now on!

In the "Sempre libera" there are also staccato notes that here indicate Violetta's frenetic state as she builds up a case for being a party girl.  This is the only act in which our soprano gets to use her coloratura for which Ms. Lopez has great aptitude.

This was only one of five coachings in the three hour session but we hope we have given you a flavor of the finely detailed work which took place.  

If you are in town in July you needn't complain about the dearth of opera.  You will have an opportunity to hear opera the way it is meant to be heard and seen--with sets and costuming (always apropos) and full orchestra at the Kaye Playhouse of Hunter College.  DO NOT MISS!

One final point given to you (unsolicited by Ms. Arroyo)--all donations to the Martina Arroyo Foundation are tax-deductible and support opera the way YOU want to see and hear it with fresh young voices given the finest training.  Do consider this!

© meche kroop

A VALIANT VIOLETTA

Nadia Petrella (photo by John Solis)

We do a lot of sitting on benches in chilly industrial spaces and on hard wooden pews in churches and on uncomfortable metal bridge chairs; the payoff is getting to hear some wonderful voices of young artists on the way up.  These young artists are not jaded and don't fly in from Europe or Russia to do their thing and leave.  They work hard as an ensemble and manifest the freshness and enthusiasm that we so greatly admire.

Last night we were privileged to attend the latest entry by New York Opera Exchange which has had a most successful season.  The production was of Verdi's La Traviata and the thrill came from two cast members who nailed their roles.

Soprano Nadia Petrella turned in a heartfelt performance in the title role.  She has an exciting instrument that seems to do her bidding without effort; the fioritura never seemed to be done for effect but rather seemed to come out of her emotions. Her "Ah, fors'è lui" was so compelling that the audience burst into applause before she could continue with "Sempre libera".  This arresting cabaletta left no doubt about her ambivalence.  Will it be love or frivolous fun?

It was all there--diction, phrasing, accuracy--in sum, a memorable performance.  This is a character who loves life and must go through all the stages of grief--denial, anger, bargaining, depression and acceptance.  Ms. Petrella's dramatic gifts revealed them all; impressively her vocal output never wavered.

Baritone Roberto Borgatti was equally impressive as Germont, especially since this was the first time he sang a role he was born to sing.  He has a substantial voice, great technique and dramatic chops to match.  His arias in Act II were so fine!  In "Pura siccome un angelo" he must convince Violetta to give up Alfredo.  In "Di Provenza il mar, il suol" he must console his son and persuade him to return to his family.  He succeeded on both counts.
 
We particularly enjoyed his interpretation.  He did not come across as a mean man, just one who is protective of his family. He limned the character's growth from disapproval to empathy in a way that made perfect dramatic sense.  We loved the scene in which he shames his son for his ugly behavior toward Violetta.

The role of Alfredo was sung by tenor Lindell O. Carter and, sorry to say, his portrayal missed the mark.  It would not have stood out as disappointing were the other principals not so superb.  We wondered whether he may have been cast at a later time than the others because there was a lack of connection.  In the first act the lack of chemistry between him and Violetta made us wonder why she would prefer him to the Baron.  An enormous suspension of disbelief was necessary to imagine him as an infatuated young man.

His acting was wooden and his intonation was not always accurate.  He gave the impression of insecurity.  In the third act he was much more convincing in his bitterness and anger.  For the most part however, he seemed to be staring off into space, or perhaps watching the conductor for cues, rather than connecting with the other singers.

We go along with the saying that "There are no small roles".  Indeed, soprano Kendra Berentsen turned in a most believable performance as Annina, devoted servant of Violetta.  Tenor Victor Starsky did a fine job as Gastone and mezzo Ann Louise Glasser was just about perfect as Flora.  Her scenes with Violetta were utterly convincing.

Bass-baritone Colin Whiteman made a sympathetic Dr. Grenvil and bass-baritone  Javier Ortiz portrayed the Marchese with style.  Baritone Nicholas Wiggins was commanding as the Baron.  These are all singers we look forward to hearing in upcoming productions.

Alden Gatt was Music Director and Conductor David Leibowitz put the large orchestra through their paces without ever drowning out the singers, even though there was no pit for the orchestra.  The acoustics of the church hall made the force of the brass section rather intense.  We heard a gorgeous oboe solo in the "Addio del passato bei sogni ridenti".

Co-directors Jennifer Bushinger and Justin Werner had a "concept" that almost worked.  The 19th c. Parisian setting envisioned by Verdi was updated to the 1940's and the locale changed to Italy.  Violetta was supposed to be an aristocrat who has become a courtesan to support herself.  Germont père et fils were transmogrified into members of the U.S. military.

What did NOT work were the disjunctions between libretto and titles and the anachronisms.  Let us consider a few.  There were no duels in Italy in the 20th c.  American soldiers did not come from Provence.  When the chorus (a superb chorus we might add) sings the rowdy songs of Carnevale and the titles say that they are celebrating the end of World War II, we feel duped.  Perhaps if you had never seen the opera and didn't know Italian you may not have noticed it.

Sadly, we confess that we are not color-blind.  It would not have disturbed us if Germont and Alfredo were both portrayed by African-American singers.  But it did bother us that father and son were, well, so unalike.  Others may not have noticed. And if there were still Italian aristocrats in the 1940's who retained their titles, we do not think they would be black.

What we DID like about the direction was the opening tableau vivant during the overture in which the major characters enact the same scene we will see at the close of the opera.  And we liked the scenes of Annina helping Violetta dress for the party.  It revealed a great deal about the feelings the two women had for each other that justified the tender nursing care received by Violetta in the final act.  The death scene brought tears to our eyes and that is always a good sign!

Set Design by James McSweeney was minimalistic--a fireplace, a couch and an escritoire.  Costume Design by Taylor Mills was apropos and effective.

There will be one more performance, a matinée on Sunday, very worth your while.  We are already marking our calendars for the next season when NYOE will be presenting Johann Strauss' delightful Die Fledermaus, Donizetti's Lucia i Lammermoor and Bizet's Carmen--happily, all done in the original language.

© meche kroop

BARE BONES FLESHED OUT

Meredith Hudak, John Kaneklides, Violetta Zabbi, Julie-Anne Hamula, Wayne Line, Carol Castel, Georgios Papadimitriou

How much of an opera can you strip away and not lose the essence?  If our experience of Delaware Valley Opera's stripped-down version of La Traviata last night taught  us something it is this:  it's all about the music.  Given good voices who can create convincing characters and some astute direction we can walk away feeling incredibly satisfied.

We are sitting in the small acoustically marvelous theater at the National Opera Center, aware that it is Columbus Day and it is an important year for Giuseppi Verdi celebrations, his 200th anniversary.  How fitting to mount one of his greatest creations!  DVO will be presenting the work in its entirely with the North Duchess Symphony Orchestra this Sunday at 3PM in full costume, but as a special gift for us New Yorkers we got the same gifted principals and a piano score performed by the talented Maestra Violetta (!) Zabbi who never missed a trill.

Violetta (our favorite opera heroine) was given an astonishing performance by soprano Julie-Anne Hamula whose brilliant soprano and thrilling embellishments were augmented by the most subtle and heart-rending acting.  This was a Violetta any woman could understand and relate to.  In Act I, her ambivalence about giving up her shallow life of pleasure for the richer but scarier life of love was made plain vocally and amplified by gesture, facial expression and body language.  Her death scene moved us to the very core.

Similarly, her Alfredo was beautifully sung and enacted by talented tenor John Kaneklides.  His commitment to the character of the young provincial man who loses his heart to the beautiful courtesan was total; his ringing tenor, a young yet manly sound, is one to watch.  We witnessed his moods of romantic adoration, disappointment, anger and remorse with never a false moment.

Baritone Wayne Line was not quite as convincing in his portrayal of Germont.  His transition from arrogance to sympathy didn't quite make it.  Mezzo Meredith Hudak supported the enterprise in the roles of Flora and Annina.  Georgios Papadimitriou was onstage briefly as Dr. Grenvil and has a lovely baritone.

The esteemed Carol Castel directed with a sure hand.  We have always loved the Zeffirelli production at The Metropolitan Opera, now sadly retired; we will never forget the fine production with Renee Fleming and Rolando Villazon.  But the new "stripped down" version mounted at the Met with it's gigantic clock, ugly chorus and ever present Dr. Death left us cold.  Not so this DVO production.  Minus chorus, minus sets, minus the gambling scene--we were left with what amounts to a very intimate opera in which we were allowed to care deeply for the ill-fated Violetta and her remorseful lover.  Bravi tutti!

© meche kroop

VALIANT VIOLETTA

Brenda Rae as Violetta: photo by Ken Howard

The valiant courtesan Violetta was sung by the valiant soprano Brenda Rae whose gorgeous singing compensated for the abominable production of La Traviata directed by Laurent Pelly.  We were moved to find our notes from four years ago to see if memory served us correctly.  We had heard that some of the directorial excesses had been corrected.  True, some of the antics of Act I with Natalie Desssay cartwheeling over the cement blocks onstage did not happen but that was not enough to make this production at all palatable.  Mr. Pelly's "concept" was and still is way off the mark.

Violetta must have the nobility of character written into the libretto of Francesco Maria Piave and the music of Giuseppe Verdi.  She is a courtesan, something akin to a "kept woman".  She was never meant to be a cheap whore.  She led a life devoted to pleasure--champagne, dancing, gracing the arm of a nobleman.  Portraying her circle as debauched is just plain wrong.

The set design by Chantal Thomas is ugly and uncomfortable for the singers who must jump from concrete boulder to concrete boulder in Act I.  Their behavior was lewd in a very modern way with gratuitous and public sex acts that belied the original story. A wag of my acquaintance thought the partygoers were dancing on their tombstones.  Tongue in cheek?  Maybe.  Maybe not.

And why would Germont père and Germont fils, having traveled a ways to reconcile on Violetta's deathbed, abandon her as she dies?  Nothing about this production rang true; nothing was believable.  Such excesses were so alienating that it was difficult to focus on the gorgeous music, conducted by Leo Hussain.

Brenda Rae's soprano is luscious and her pianissimo singing is outstanding;  we believe she did her best with what the director wanted of her.  Michael Fabiano as Alfredo got lost in the hubbub of Act I and did not project much chemistry with Violetta.  It could not be believed that he was "crushing" on her for a year and finally met her.  His voice picked up some steam in Act II but the damage was done.  Jennifer Panara was excellent as Flora.  Jonathan Michie made a fine presence as Violetta's unloving lover Baron Douphol.  Roland Wood as Germont père sounded best in his duet with Violetta in Act II.  But if he underwent much character change by Act IV, it was difficult to tell.  Keith Jameson always turns in a fine performance and did so here as Gastone.  Apprentice André Courville did well as the Marquis d'Obigny.

Mr. Pelly's costumes looked like contemporary high fashion in Act I; I understood that the openings were designed to facilitate sex acts but this is not something we believe happened in that epoch except behind closed doors--not at parties.   This was not an atmosphere from which a well-born young man would choose a woman with whom to fall hopelessly in love.

Although no one was credited with wig and makeup design, we found both atrocious.  Brenda Rae is a beautiful woman and she was horribly bewigged, even in Act I when Violetta is meant to be at the top of her form.  We understand that a dying woman might look truly awful in Act IV but there's awful and there's AWFUL.

We do acknowledge that there are people who enjoyed the production but we are not of that ilk.  We hope this production will be retired and a more genuine and believable production of this (our favorite opera!) be mounted in the future.

© meche kroop