ARCTIC (and other) EXPLORATIONS

 Curtain Call at Arctic Exploration

Contemporary works often leave us bored or annoyed, and it takes something special to attract our attendance. The idea of an opera written about the search for a Northwest Passage aroused our curiosity and the opportunity to see four of the principles after a considerable gap in their New York City appearances presented an additional incentive. We were not disappointed although it was difficult to perceive Michael Dellaira's composition as a "folk opera".  Last week we reviewed an "oratorio" that seemed to us to be an opera and the work we saw last night seemed to be more of an oratorio.

Aside from seeing four artists that we had written about in the past, what we enjoyed most about Arctic Explorations was the theme of mankind's drive for discovery. We didn't need the Director's program notes to draw parallels with contemporary society's drive to conquer space. The price we pay for mankind's expansionist tendencies is the despoiling of nature.

The onstage presence of Inuit dance drummer and storyteller from Greenland (Nuka Alice) gave us something to think about since the survival of Inuit culture is threatened as much as that of the skinny starving polar bears we have all seen in photos and videos. Of course, one of the main raisons d'être of a work of art is to hold a mirror up to us and to make us think about issues.  Lately, current issues have been addressed in unmusical operas with prosy polemic scripts. Arctic Explorations was different.

There was a sequence of scenes telling the story of the mid-19th c. naval officer Elisha Kent Kane (believably portrayed by Colin Levin) . He was, at the behest of Present Zachary Taylor (a persuasive Michael Celentano) persuaded to search for the longed for Northwest Passage. President Taylor was, in turn, prevailed upon by Lady Jane Franklin (Erin Brittain) whose husband had gone in search of this Northwest Passage to connect the Atlantic Ocean with the Pacific Ocean. He had never returned from this ice-blocked part of the world and she persuaded Taylor that the Unites States might succeed where Great Britain had failed, and lay claim to this vital channel that, as we understand it, could avoid the treacherous shipping route of "rounding The Horn".

Also exploring a different aspect of "the unknown" was Maggie Fox (the lovely soprano Nicole Haslett) who explored the world of "spirits" by running séances which were popular in this period of history. Ms. Fox was definitely connected to Kane although it is debatable whether they wed or not. Their letters found their way into the script.

It is to Mr. Dellaira's credit that the work led to a deep conversation with our companion for the evening and, furthermore, a considerable amount of reading online! Apparently, some artistic license was taken but nothing prevented our appreciation for this fascinating story.

Mr. Dellaira's music was pleasing and appealed to us most when it sounded like folk music. The instrumentals were provided by an onstage chamber group called The Harlem Chamber Players, an unusual septet comprising Clarinet (including our favorite instrument, the Bass Clarinet), Guitar, Banjo, Violin, Viola, Double Bass, and Percussion. We enjoyed the music and found the orchestration interesting in its varied textures.

The massive New Amsterdam Singers Chorus, led by Clara Longstreth since its founding 56 years ago ( ! ) did a considerable amount of heavy lifting which is one of the main reasons we thought of the piece as an oratorio. As a curtain raiser, they performed three works, one from the turn of the 17th c. and two contemporary pieces. We enjoyed the pianistic contributions of Pen Ying Fang in "Storyteller" by B.E. Boykin who set the text of a Tlingit poet named Ishmael Angaluuk Hope.

The director of Arctic Explorations was Kira Simring and the effective costuming was achieved by Danielle Hartley. The success of the evening can be attributed to the fine performances and direction that gave life to the story and the Harlem Chamber Players and New Amsterdam Singers Chorus that brought Michael Dellaira's music to life. The presence of Nuka Alice lent authenticity to the evening and we were gratified to learn how much she contributed to the realization.

And this reminds us to share one further thought about the work. The expedition of the British Franklin failed because they had contempt for the people who were native to Greenland.  The exploring party all died. That the American Kane returned alive can be attributed to his acceptance of help from the same people for whom Franklin had contempt. That we are all connected in this world of ours is a most important takeaway. At a time when divisiveness has infected our entire planet, it is vital that we learn to value and trust "the other", to share what we know and to learn to respect the viewpoints of others, even when we don't see things the same way.

(c) meche kroop

LIGHTHOUSE. OPERA CHAMPAGNE GALA

 Lighthouse Opera Singers in Act I scene from Verdi's La Traviata

The Bronx is way out of our territory but the one time we went up there last year was to see one of our favorite artists perform the role of Violetta in Verdi's masterpiece La Traviata. How fitting that we got to see her in the ensemble that closed last night's gala--the party scene from Act I of the same opera. We also had the opportunity to hear other members from that same cast, but we will get to that later.

Our dearest pleasure in life is witnessing the growth of young singers. Lyric soprano Shaina Martinez is one of them. We have been writing about her since her time at Manhattan School of Music and watching her expand her repertoire. Last night we particularly enjoyed her performance of "Ernani involami" and are happy to see her expanding into new repertory as her voice grows in dimension. The aria was sung with both depth and breadth of tone and the fireworks of the cabaletta were finely executed, the ornamentation reminding us that Verdi composed on the heels of the bel canto composers we admire so greatly.

We also enjoyed a favorite aria from Bizet's Carmen. Alone and scared in the mountains near Seville, poor Micaëla "whistles in the dark", using her faith to bolster her courage in "Je dis que rien ne m'épouvante". Ms. Martinez successfully conveyed that mixture of terror and resoluteness that we want to see in the character, and did so with grand and powerful singing, filling the hall with overtones and filling the text with meaning.

Her Alfredo from the production we saw last year in The Bronx was tenor Michael Celentano, another singer whose progress delights us. . He made a convincing Don Jose in the final scene from Carmen--as convincing vocally as he was dramatically. We preferred him in that role as he portrayed Don Jose's complex emotions than his portrayal of  Walter von Stolzing from Wagner's Die Meistersinger. The fach of heldentenor may be more accessible somewhere down the road. If we noticed one thing that would top off Mr. Celentano's performance it would be some coaching in French and German.

His Carmen was portrayed by mezzo-soprano Ema Mitrevic whose selections of the evening involved three seductive women. Her defiant Carmen in the death scene with Mr. Celentano was a real hit and more believable than the "Seguidilla" in which she tries to seduce Don Jose with some not very Spanish wiggling. We found her far more believable as Dalilah in "Mon coeur s'oeuvre a ta voix" from Saint-Saëns's Samson et Delilah, creating seductiveness by means of vocal color.

Ms. Mitrevic has stayed in my memory as the Flora in The Lighthouse Opera's La Traviata,  and the fourth singer remembered from that production was tenor Scott Rubén La Marca who had portrayed Gaston. Last night he employed his sweet tenor to portray Ferrando in Mozart's Cosi fan tutte, singing "Un aura amorosa" with youthful romantic ardor.

Where he really shone was in a duet from the final act of Torroba's zarzuela Luisa Fernanda in which the heroine (beautifully sung by Ms. Martinez) tells his character Javier that she cannot marry him. (By a strange coincidence we just heard last night another duet from the same zarzuela!) Although the role of Luisa was written for the mezzo-soprano fach, it posed no challenge for the talented Ms. Martinez and the two singers worked quite well together.

The only other singer on the program that we had heard before was tenor Omar Bowey. Unfortunately, we had not had the chance to witness his vocal growth over the past decade and it was like hearing someone new. We cannot remember what he sounded like that long ago but last night we noticed an interesting vibrato. He injected a lot of dynamic variety into "Dies Bildnis its bezaubernd schön" from Mozart's Die Zauberflöte. However, we enjoyed his portrayal of the Duke in the quartet from Rigoletto even more.

We also got to hear some singers for the first time, which is always exciting. Bass-baritone Charles D. Carter has the resonant low notes and authoritative stage presence to make a fine Sarastro singing "O Isis und Osiris" from Die Zauberflöte. He also made an excellent Sparafucile from Verdi's Rigoletto showing characterological versatility--all the way from heroic to villainous. He offered his assassination skills to the hunchback Rigoletto, excellently realized by baritone Robert McNichols, Jr. who was a guest artist for the evening.

Also new to us was baritone Phillip K. Bullock whom we only got to hear once. His portrayal of the virile and self-satisfied Escamillo in Carmen was memorable,  blending nonchalance and arrogance. It left us wanting more.

Finally, soprano Lisa Eden showed a facility for French in "Depuis le jour" from Charpentier's Louise. We thought this aria suited her voice better than "Piangero la sorte mia" from Händel's Giulio Cesare. Perhaps she just liked the character more.

In the quartet from Rigoletto, Ms. Eden took the role of Gilda, Ms. Mitrovec took the role of Maddalena (another seductive woman!), Mr. Bowey performed the Duke, and Mr. McNichols, Jr. portrayed Rigoletto. The voices balanced perfectly.

As seen in the photo above, the evening concluded with the party scene from Verdi's La Traviata leaving the audience humming.

© meche kroop

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

NABUCCO ABBREVIATED

Robin Bradley, Leslie Swanson, David Serero, Javier Ortiz, and Michael Celentano
onstage at the Center for Jewish History in Verdi's Nabucco

That warm feeling we get when hearing Verdi's "Va Pensiero", also known as "The Chorus of the Hebrew Slaves" is largely due to Verdi's stirring music and the poetic words of librettist Temistocle Solera. Last night, at the Center for Jewish History, we heard the chorus performed by the five members of the cast of an abbreviated version of Verdi's Nabucco. The opera premiered in 1842 at La Scala, established Verdi's reputation, and has been a part of the repertory ever since.

Presented by The American Sephardi Federation and directed and adapted by baritone David Serero, we heard some fine singing and accompaniment by Shawn Chang, substituting for the orchestra. Although die-hard opera goers might complain about the cuts and lack of orchestra, we enjoyed this version and so did the audience which happily included some youngsters. What a great way to introduce someone to opera. This version was direct and to the point, emphasizing the major arias, eliminating extraneous characters, and telling the story well without any longueurs.

Mr. Serero himself used his powerful baritone well and created a Nebuchadnezzar to be reckoned with. His mad spell, which in the bible lasted for seven years, lasted only about seven bars of music-- but was very convincing! For purposes both dramatic and romantic, operatic libretti take huge liberties with history, much as the stories in the bible take liberties with historical facts.

Nebuchadnezzar was the most long-lasting and powerful king of Babylonia five centuries B.C.E. He did in fact conquer Jerusalem and destroy the temple. In the Book of Daniel, by virtue of Daniel's dream interpretation, he converted to Judaism-- but that is not supported historically. Every culture creates its own legends.

Even the popularity of "Va Pensiero" is surrounded by legend. Indeed it was sung at Verdi's funeral in 1901, but it was not a spontaneous demonstration. It was orchestrated for political reasons. As a matter of fact, its patriotic status probably originated after Italy's reunification. Still, it's an attractive myth that the work motivated Italy's attempts to throw off the yoke of foreign domination. To each his own myth!

The creation of the masterpiece by Verdi and Solera incorporated, as so many operas do, a romance. The Babylonian princess Fenena, well sung last night by mezzo-soprano Robin Bradley, and Ismaele (nephew of the King of Jerusalem) equally well sung by tenor Michael Celentano are having theirs. In the opera, Fenena is used by the Judeans as a hostage, so when Ismaele frees her he is accused of treason.

By far the most difficult role in the opera is that of Abigaille, supposed daughter of Nebuchadnezzar but actually the child of a slave. She has been scorned by Ismaele and wants vengeance. She seizes the crown from Nebuchadnezzar when he has his lapse of sanity. 

By now, dear reader, you must have realized what a challenge this role offers! The gauntlet was taken up by dramatic soprano Leslie Swanson who exhibited the depth of texture of a mezzo-soprano in the lower register and the flexibility and power for the high notes. It was an exciting performance.

The cast was rounded out by the fine bass Javier Ortiz who played the role of Zaccaria the High Priest of the Jews. There were no titles but reading the summary of the plot and picking up a few words in Italian gave us a clear picture of the dramatic arc.

We are always interested in what Mr. Serero has in the works and we heard about a Nozze di Figaro in the pipeline, as well as a Romeo and Juliet based on a Sefardic family at odds with an Ashkenazi family. For those who may not know, these are two branches of the Hebrew tradition created during the diaspora. Forgive us our feeble attempt at humor but we are seeing matzo balls being hurled from one side and felafel balls from the other! We can scarcely wait.

(c) meche kroop

UNDERGROND SALON

José Luis Maldonado, Shaina Martinez, Amir Farid, Michael Celentano, Chantal Brundage, Christa Dalmazio,
Angela Candela, and Andrew King

We found out about Underground Salon's April Showcase quite by accident and we are so glad we did. Angela Candela is a young woman after our own heart; we share the same goals of fostering the careers of young singers. Her idea was to get together some friends and colleagues from Manhattan School of Music and to offer them a safe space to try out new repertory. No auditions, no competition, no judgments. What a great idea!

We were delighted to hear some of our favorite young singers in a different situation. All singers know, and Joyce DiDonato pointed this out several times in her master classes last weekend, that a safe non-judgmental space makes it possible to experiment. Surely breakthroughs happen when we experiment with something new!

We would like to point out at the very start how effective it is when the singers introduce themselves and tell what they will be singing. In this salon, they went even further and told a little about the aria they would be singing and its place in the opera. They all spoke clearly and we appreciated it.

Baritone José Luis Maldonado is well known to us; indeed he was selected to sing a set of Spanish songs for the April 29th concert at St. John's in the Village--"Around the World in Song". But on Sunday we heard him sing in Russian! The selection was "Ja vas lyublyu" from Tchaikovsky's Pique Dame and we were mightily impressed.

What strikes one about Mr. Maldonado is the kind of generosity of spirit that we haven't seen since Pavarotti. The sound is generous and so is his presence. There is a magnificent connection with both the aria and the audience; one experiences him as a conduit and feels the feelings so intensely that one might overlook the superiority of his technique.

One might call him a "stage animal". There is no holding back; it's all "out there", witness his performance of Billy's soliloquy from Rodgers and Hammerstein's Carousel which proved to our satisfaction that this work is truly an American opera, far more than the tuneless pieces we have been sitting through lately. The texture and resonance of his instrument combined with the way in which he employs them, make for a thrilling listening experience.

In terms of "trying out new material", the prize goes to soprano Shaina Martinez who took a risk with "Ombre pallide" from Händel's Alcina. The reason it was a risk was that a teacher once told her that her voice wasn't suited to Händel.  We think that's a tutelary error to tell a student something like that. The best singing comes when one sings a song one truly wants to sing. We heard that advice years ago in a master class and couldn't agree more.

Ms. Martinez performed this difficult Baroque aria with complete investment, passion, and connection. She tossed off the ornamentation with style but also handled the low notes effectively. We would like to cheer on her rebellious spirit (or "phase", as she called it). Please, singers, don't let other people tell you who you are!

Ms. Candela herself won our admiration for her performance of "Mi tradi" from Mozart's Don Giovanni. There was an effective contrast between the recitativo and the aria and an admirable connection with the character of Donna Elvira. If the work wasn't 100% stage-ready, that was not a problem. It's a work in progress but we have high hopes for the finished product.

Her pretty instrument was evident in "Hear Ye Israel" from Mendelssohn's oratorio Elijah. But oratorio, religion, and English are not our favorite things so we far preferred the Mozart.

Chantal Brundage performed "Robert, toi que j'aime" from Act IV of Meyerbeer's Robert le Diable. This underrated and underperformed composer seems to write well for the voice and Ms. Brundage employed her excellent resources to convey the emotions of the character, and she did so in fine French which we had no problem understanding. Her tone at the upper end of the register is beautifully brilliant. 

Christa Dalmazio has a sparkly soprano matched by a sparkling personality that was just perfect for "Poor Wand'ring One" from Gilbert and Sullivan's Pirates of Penzance. There was personality to spare and pretty good English enunciation but at such a high tessitura, one cannot get all the words.

However, in the "Silver Aria" from Douglas Moore's Ballad of Baby Doe, she made every word clear and captured the character of Baby Doe. 

Tenor Michael Celentano sang "Addio fiorito asil" from Puccini's Madama Butterfly with more grandstanding than subtlety. We want more variety from him--variety of color, dynamics, and pacing. His instrument is a large one and a promising one and when he gets it under control there will still be more than enough volume. We want him to forget about making big sounds and to try getting inside the character.

The same comments could be made about his portrayal of Rodolfo in the Act IV duet "O Mimi, tu piu non torni" in which Mr. Maldonado took the part of Marcello.

Supportive piano accompaniment was given to the hands of Amir Farid and Andrew King--both of whom are superb.

We are hoping there will be a May Showcase and that we will be available to attend. It was a truly exciting experience!

(c) meche kroop

SCROOGE

Joyful concluding scene from Nathan Hull's "Scrooge" at Riverside Theater

We think of creativity as the ability to take things that are known and to combine them in a new way to produce something novel. That concept can be applied accurately to the work of art created by Nathan Hull, Artistic Director of Amore Opera.

The multi-talented Mr. Hull has directed his own creation for the second of what will be an annual event, and directed it with his customary skill and inventiveness. We loved last year's production so much that we returned this year, bringing a friend who was new to Amore Opera and not (yet) particularly a fan of Gilbert and Sullivan. Sharing it with a friend who was absolutely enchanted gave us great pleasure. New York Village Light Opera presented it a decade ago and it has been performed around the country many times since then.

Judging by the quality of the work, Mr. Hull must have labored long and diligently, adapting Charles Dickens' "A Christmas Carol" for the stage and curating over 20 songs from 11 operettas by Gilbert and Sullivan. The greatest part of the task would seem to have been writing the lyrics for Sullivan's music, retaining the wittiness, the meter, and the rhyme scheme established by Gilbert. Clearly the selections had to be chosen to fit the characters singing them and to advance the drama of the scene. We consider the work a complete success but Mr. Hull tells us he is still tweaking it.

The work opened with the fine chorus singing "Christmas Season", an adaptation of "Welcome, Gentry" from Ruddigore. This bustling joyful scene set the stage for Scrooge's negativity. The closing number was borrowed from The Gondoliers-- "Now Let the Loyal Lieges" and utilized Gilbert's own lyrics.

In between we enjoyed some excellent voices illuminating the dramatic arc of the enlightenment of a very unpleasant man, the selfish and miserly Scrooge, effectively enacted by Ray Calderon. Who doesn't enjoy seeing the transformation of the wicked into the lovable!

The transformation is effected by the ghost of Scrooge's deceased partner Jacob Morley (scarily portrayed by Jay Stephenson). He introduces Scrooge to three spirits who guide him through this transformation.

The Ghost of Christmas Past was portrayed by Alexa Rosenberg, a wraith in a white gown who danced gracefully through her role. The Ghost of Christmas Present was superbly sung by Alexis Cregger whose "Come in and Know Me Better" was a fine iteration of  "Pirate King" from The Pirates of Penzance. The Ghost of Christmas Yet to Come was performed by Kristina Malinauskaite, unrecognizable in a scary long black gown. (She was perfectly recognizable as one of the "charity ladies").

There was so much delight in the evening that it is difficult to pick out special moments but we will make an effort. There was a lovely duet between the young Ebenezer (tenor Ramon Gabriel Tenefrancia) and Belle Fezziwig (soprano Laura Soto-Bayomi), the woman he lost because of his materialism. There was a sprightly dance by Fezziwig, Tom, Dick, and Harry (Thomas Geib, Patrick Valdes-Dapena, Sean Biopcik, and Brett Murphy) trying to loosen up young Ebenezer--"Soon as We May" adapted from Iolanthe's  "If You Go In".

The Cratchit children sang "We Won't Eat Just Any Old Thing" adapted from  "The Flowers That Bloom in the Spring" from The Mikado; note the scanning similarities!  The young Leo Kogan made a most appealing Tiny Tim and sang "Were I to Walk" adapted from "Were I Thy Bride" from The Yeomen of the Guard.

Do you remember the very funny "A Paradox" from The Pirates of Penzance? Here it was sung by Scrooge's nephew Fred (Michael Celentano), his wife Celeste (Christa Dalmazio) and their dinner guests Julia (Sarah Adams) and Topper (James Stephen Longo). The four had terrific chemistry together.

Do you remember "Things are Seldom What They Seem" from H.M.S. Pinafore? Here it was sung by a cockney-accented pair (Evelyn Thatcher and Richard Agster) trading old Scrooge's belongings after his (future) death. They provided excellent comic relief.

Brendon Gallagher made a sympathetic Bob Cratchit with Perri Sussman doing her usual fine work as his wife and mother of their six children.

This might be a good time to mention how successful Mr. Hull is at getting children onstage in every production and to also mention that he is auditioning children for an all-children production of Iolanthe.

Aside from the fine direction, we enjoyed the effective sets which were provided by The Village Light Opera, and based upon David Jones' original design. Cynthia Psoras designed the excellent period costumes.

One very important addition for this 2018 version was the addition of surtitles so not one of Mr. Hull's clever words were lost.

We do, however, have one quibble. The orchestra, under the baton of Elizabeth Hastings, was occasionally faulty in their tuning. We noticed this predominantly in the overture but as soon as the excellent singing began we were able to overlook the problem.

There are three more performances and it is not to be missed!

(c) meche kroop

DON JOSE ON THE COUCH

John Kim, Conrad Schmechel, Bonnie Frauenthal, Michael Celentano, Melissa Serluco, Paul Khoury, Perri Sussman, and Julia Gmeiner

Although we generally take a dim view of updating the classics, what Lenora Eve accomplished with Bizet's Carmen was nothing short of miraculous. As President, Founder, and Artistic Director of Opera Breve, Ms. Eve devised an original concept that shed new light on the opera. She gave herself the role of psychoanalyst Dr. Eve Stone, delivering a paper on "Love, Obsession, and Addiction", illustrating the pathology of one Don Jose whom she had interviewed as he was on death row, awaiting execution for the murder of Carmen.

She did an impressive job of presenting the scenes of the opera onstage as illustrations of the points she made from her offstage podium. This concept appealed enormously to our psychoanalytic self and sounded exactly like papers we have heard at psychoanalytic conferences. The amazing thing was that her theorizing was astute and accurate.

One point that we had never considered is that Don Jose saw himself as a victim and was unable to see his role in the tragedy.  Carmen was portrayed as an insecure woman, fearful of abandonment, using her wiles to bring men close to her and then dumping them before they could abandon her. We found this interpretation thought provoking.

Moreover, the eight performers cast in the opera seemed to intuit Ms. Eve's analysis or were very well directed by her. The entire cast sang well and their French, if not always perfect, was perfectly understandable. The diction and acting were so on point that titles were unnecessary.

As the eponymous Carmen, mezzo-soprano Melissa Serluco turned in her customary fine performance. As befitting Ms. Eve's concept, there was nothing sinister about her seductions and one could feel considerable empathy for the character. Both the Habanera and the Seguidilla were performed with style and substance. Having enjoyed her performances with Utopia Opera and Amore Opera, we were unsurprised by the rich texture of her voice and fine phrasing.

We felt the same appreciation for soprano Bonnie Frauenthal's Micaela, even though her character was presented in the traditional fashion--shy, innocent, vulnerable, but calling upon faith to give her courage. Ms. Frauenthal has a lovely bright instrument and used it well in the service of the music and the character. Her "Je dis que rien ne m'epouvante" was incredibly moving. We have heard and enjoyed Ms. Frauenthal's performances with Dell'Arte Opera Ensemble and Utopia Opera.

Both of these young artists seem to be in demand by New York's most impressive boutique companies, as is the terrific tenor Michael Celentano, whose performances we have also enjoyed in lots of major tenor roles. As Don Jose, he sang and acted with distinction, seeming to convey the very points made by "Dr. Stone" at the podium. We loved the way he sang "La fleur que tu m'avais jetee" and the abject manner in which he begged Carmen to return to him.

His duets with Carmen and with Micaela were marked by depth of feeling and lovely vocal balance.

Soprano Julia Gmeiner as Frasquita and mezzo-soprano Perri Sussman as Mercedes added a lot of personality to their roles as friends of Carmen who flirted wildly with Escamillo (Paul Khoury, who managed to sing while twirling his cape and engaging in a knife fight with Don Jose) and accepted money for their sexual favors at Lillas Pastia's tavern cum brothel.

Tenor John Kim made a fine El Remendado and also doubled in a very funny turn as a shy reluctant client at the brothel.  His facial and bodily expressions were priceless. Baritone Conrad Schmechel was a fine addition as El Dancairo.

We always look forward to the humorous scene of the smugglers planning their next adventure. Here, it was particularly well done.

Replacing Bizet's stunning orchestration with a piano reduction is always hit or miss.  In this case, it was clearly a hit.  Pianist Matthew Lobaugh has the normal set of ten fingers but we heard the sound of scores of instruments.

Combat Director Joseph Melendez was so effective that we were holding our breath in anxiety for the artists.  Not to worry.  No one was at risk; it just looked that way.

Kristine Koury's costumes were simple for the most part and contemporary in style. Don Jose wore army fatigues; Escamillo had a fine matador costume with a cape of gold, not red. We like the dresses worn by Frasquita and Mercedes which had a definite flamenco flair. Micaela was dressed like a country girl; it was perfect.

We were delighted to see an old warhorse in a fresh light. If only other directors were similarly original with their concepts and creative in their executions! Unfortunately, most of them seem to come from a place of directorial arrogance and self aggrandizement and have nothing original to say.

The best proof of this production's success was that our companion for the evening had never seen an opera before and has declared himself as an ardent fan, eager for more experiences. If a small and adventuresome company can win converts like that, we must consider them a roaring success!

(c) meche kroop

LA ZINGARA

Maestro Douglas Martin, Director Nathan Hull, and cast of Donizetti's La Zingara presented by Amore Opera

Some folks go to the opera to cherish the old standards and revel in their familiarity; others go to the opera to see something new and daring; and still others love to find something old and undiscovered or neglected. The current season of Amore Opera, like prior seasons, pairs two works, one of which is familiar and the other of which is undiscovered. The old warhorse--Bizet's Carmen, recently reviewed, is paired with an early work by Gaetano Donizetti entitled La Zingara, astonishingly never seen before in the USA.

Carmen is a tragedy whilst La Zingara is billed as an opera semiseria. To our eyes and ears it seems more like an opera buffa with plenty of humor and, like Carmen and Die Zauberflote, written with spoken dialogue. We could not stop thinking of zarzuela, a Spanish art form involving crazy plots like this one.

La Zingara premiered in Naples in 1822; it was Donizetti's 7th opera and the first one he created for Naples. In place of recitativi, he incorporated spoken dialogue; the aristocrats spoke in classical Italian whilst the servants spoke in Neapolitan dialect. The opera was a great success; we wondered what the Neapolitans thought about their dialect being employed in such a fashion but cannot find any commentary from that period.

Wisely, Director Nathan Hull (also president of Amore Opera) eliminated the dialogue which was replete with Neapolitan humor that would make no sense to contemporary audiences, and wrote some clever dialogue in idiomatic English which explained the plot and fleshed out the characters. There was a very humorous moment at the beginning when the Amore Orchestra started playing the overture to Carmen and Argila herself (the titular gypsy girl) comes out and tells the orchestra "no, not that one!"

Donizetti's music never fails to delight and the tunes he penned always tickle our ears. We recognized one which he later recycled in L'elisir d'amore; those more familiar than we are with his entire oeuvre might have recognized more. The 24-year-old composer was initiating experiments that would be fulfilled in his long composing career. One absolutely stunning moment occurred at the end of the first act when three couples sang interlocking and overlapping duets, producing a sextet of impressive complexity and thrilling harmonies.

In the title role, mezzo-soprano Melissa Serluco (whom we have enjoyed at Utopia Opera and New Amsterdam Opera) turned in an outstanding performance. Aside from her fine vocal assets, she created the character of Argilla with such skill and charm that the surprise ending seemed quite natural. We would not want to spoil the surprise for our readers but let it be noted that Mr. Hull's dialogue layered on some really clever references to other more familiar operas in the canon. This spunky Gypsy Girl uses her keen intelligence to manipulate all the other characters--not to hurt them but to solve their problems. We are still smiling about her antics.

The story concerns the nasty despotic ruler Don Ranuccio (portrayed by the always wonderful baritone Robert Garner) who is trying to marry off his daughter Ines (soprano Mary Thorne) to his lieutenant Antonio (Michael Celentano). He has unjustly imprisoned Antonio's uncle Don Sebastiano (veteran bass Jay Gould) and plans to murder him so that Antonio will get the inheritance. The jail is guarded by the humorously inept and clumsy Papaccione (Frederic Rice). 

Ines is in love with Fernando (tenor Jeremy Brauner) whose identity is kept secret. Fernando is accompanied by his faithful servant, the very funny Sguiglio (Bennet Pologe).

The finest singing we heard all night was that of tenor Jed Kim who sang the role of the Duca d'Alziras whom Don Ranuccio also wants to murder.  He began a phrase with such exquisite pianissimo and spun it out like a strand of silk. His breath control literally took our breath away. He has an instrument of very sweet color and employs it well. We want to hear him again!

As Ines' companion Amelia, La Toya Lewis sang well, as did the two lovely young ladies portraying Argilla's gypsy friends. Nicole McQuade was Ghita and Heather Boaz was Manuelita. Everyone's Italian was comprehensible, thanks to diction coach Paul Ferrara, himself a former singer.

Mr. Hull wears his director cap well, likely due to his considerable experience as a singer. In so many contemporary productions, directors are brought in from other branches of the arts, directors who do not understand singers.  Mr. Hull always knows where to place his singers and never asks them to sing in ridiculously awkward positions.

Susan Morton's chorus sang well. Maestro Martin pulled the orchestra together after a somewhat ragged beginning.

Richard Cerullo's set design was simple but serviceable. Lauren Bremen lit them well. Cynthia Psoras' costumes worked just fine, readily differentiating the nobles from the servants and from the gypsies.

We do not know whom to credit for the sound design but the loud clanking sound accompanying the locking of the flimsy prison door was a source of humor, as was the huge splashing when several characters dropped down into the well. Although the story had its serious elements we welcomed the emphasis on the moments of comedy. And it did have a very happy ending; we walked out all smiles.

There will be one more performance tonight and, although there are no children onstage, we recommend that you bring your children. We were so happy to have the opportunity to see and hear a long lost work and you will be too.

(c) meche kroop

DONIZETTI UNEARTHED

Robert Garner as Severo and Sara Beth Pearson as Paolina in Donizetti's Poliuto at Amore Opera

 

 

We love Donizetti for his melodic bel canto writing and we love Amore Opera for unearthing one of his rarely performed tragic operas. Donizetti's music is always kind to our ears, whether it is underscoring a frothy comedy or a serious tragedy. If one doesn't care for the story, one can always revel in the music.

The libretto for his Poliuto was written by Salvatore Cammarano, loosely based on Pierre Corneille's tragic 1640 play Polyeucte. The birth of the opera was a difficult one: problems with censorship by the Catholic King of the Kingdom of the Two Sicilies, rewriting for the Opera Francaise, translating that into Italian, and the suicide of the tenor.

The story has significant resonances today. In third century Armenia, the ruling Romans saw Christianity as a threat to be eliminated. Christians met secretly in caves to hold their baptismal ceremonies. (Indeed, we once crawled into caves in Central Turkey where Christians lived and worshipped in secret.) Today Christianity is an accepted and prominent world religion with some members who would like to annhililate other religions. It seems like just another manifestation of  "My God is the right one.  Yours is the wrong one." Will mankind ever learn?

It would be fair to say that the story is distasteful to us. We don't understand martyrdom or the belief that all will be remedied in some mythical paradise after death.  All we could think of was the current plague of suicide bombers.  In Poliuto, at the end, the heroine joins her husband in just this sort of death without regard to the effect on her father.

Paolina was in love with the Roman Proconsul Severo. Believing him dead, she married Poliuto. He is jealous and mistrustful and a convert to Christianity without being aware that his jealousy and pride are "sinful" by their standards.

Severo shows up very much alive and she resists his blandishments. Misled by Callistene, the evil High Priest of Jupiter, Poliuto believes her to be unfaithful and pridefully resists all her claims of innocence.

Nearco, Poliuto's friend and leader of the growing Christian sect of Armenia, refuses to name him to the authorities but the "noble" Poliuto turns himself in, happily martyring himself, looking forward to his salvation in heaven.

Paolino insists on joining him although Severo does everything to prevent her. The martyrs get thrown to the lions.  And that's that.

But what marvelous melodies we heard, conducted by Daniele Tirilli! This is Donizetti at the top of his game. Even the overture offers one beautiful theme after another--an opening mournful one, then an urgent propulsive one, then a lively martial one.  The opening chorus of Christians filled the theater at the Sheen Center with harmonies.

Soprano Sara Beth Pearson made a splendid Paolina, singing with a substantial sound that was also flexible and just right for the fioritura. Her acting skills matched her singing, as she slowly became enchanted with Christianity. We loved her aria "Di quai soave lagrime, aspersa è la mia gota "
Baritone Robert Garner continues to impress us with his full-throated singing and convincing acting. He actually made us feel sympathy for Severo by showing many dimensions to his character. We liked his tender love aria "Di tua beltade imagine è questo sol ch'io miro ".

Tenor Lindell Carter seemed not quite comfortable in the title role, as evidenced by some mugging and wide-eyed staring.

Tenor Michael Celentano made a fine Nearco while tenor Douglas McDonnell handled the small role of Felice with fatherly grace.

Bass Jay Gould made a formidable Callistene, the man we love to hate.

Christians were portrayed by Daniel Kerr, James Stephen Longo, and Ruben Navarro.

The direction by Nathan Hull was straightforward, as we prefer. When the two major players of a company (Mr. Hull and Maestro Tirilli) have sung opera, you can rest assured that the singers will come first. No one was put in a physically or vocally threatening position. This is something we truly appreciate.

Costumes by Amy Leubke were elegant and colorful, appearing appropriate to the period. Simple painted sets by Richard Cerullo served their purpose.

Special mention must be made of the fine chorus who added so much to the proceedings, thanks to Chorus Manager Janet Johnson. The opera contains several choral pieces, often augmenting the ensemble writing at the conclusion of a scene.

We may never get to hear this wonderful piece again and were so happy to have had the opportunity. Thanks Amore Opera for unearthing this buried treasure.

(c) meche kroop

LUCIA--A GHOST STORY

A ghost (Christine Duncan) haunts Lucia (Kristina Malinauskaite)

It's been over two years since we heard soprano Kristina Malinauskaite sing "Regnava nel silencio" at a Dell'Arte Opera Ensemble recital.  Yesterday we got to hear her perform the entire role, one for which she is well suited. Donizetti's masterpiece Lucia del Lammermoor is a gothic tale that resonates with us today since it shows the enormous personal cost of tribal rivalry and the subjugation of women.

Poor Lucia is robbed of the love of her life, Sir Edgardo of Ravenswood (Michael Celentano), by her selfish manipulative brother Enrico (Yun-Kwan Yu), who forces her to marry Lord Arturo Bucklaw (Lindell Carter) to save himself from political ruin. This cannot end well and of course it doesn't. Lucia goes mad, stabs Arturo, hallucinates, and dies. Edgardo stabs himself when he learns of her death. Enrico is filled with remorse and shame.

The opera received an honorable production by Vocal Productions NYC with some valuable contributions by students of the High School of Art and Design, the auditorium of which was host to the production, and a fine space it is!

The costumes, credited to Zhanka Melnechuk were appropriate to the 19th c. and suitable for a household in mourning for Lucia's late mother. Costumes for the wedding scene were lively and colorful.  Men wore sashes emblematic of their clan.  Set designer Kent Gasser kept things simple but effective for Act I with a fountain and a cemetery. Projected on a screen upstage were scenes reflective of the setting.

Captain of the Guards Normanno (David Roush) is trying to locate an intruder with whom Lucia has been meeting secretly at dawn. His ratting her out to Enrico sets the tragedy in motion.

Lucia's scene with her handmaid Alisia (Viktoriya Koreneva), as she waits for Edgardo, serves to show the audience just how fragile she is. Donizetti's music here is eerie and Associate Conductor Francisco Miranda's handling of the "harp" was superb. Ms. Malinauskaite shone in the cavatina--beautifully lyrical in the cantabile and increasingly frantic in the cabaletta. 

The scene was enhanced by the balletic presence of the ghost of a woman who died at the fountain (Christine Duncan). This spirit reappears in the scene when Lucia dies. We found it powerful although others may prefer to have the spirit exist only in Lucia's mind and not onstage. Alisia is worried for Lucia and tries to persuade her to abandon this hopeless love since the two families have a long-standing blood feud.

Of course the scene we were all waiting for was the mad scene and Ms. Malinauskaite did not disappoint. She built the scene slowly to the fioritura fireworks. The duet with the flute was haunting. One rarely hears a glass harmonica these days!

It was great to see a young woman conducting and Vera Volchansky was fun to watch as she used her body as well as her baton to pull together an orchestra that got off to a somewhat ragged start. We always enjoy the woodwind solos and the recalcitrant horns. The Maestra brought out the hoofbeats of Enrico's horse as he approaches Edgardo's castle where he challenges the latter to a duel.

Kevin Courtemanche served as Stage Director and kept things moving along. Not only was the ballet of the spirit an interesting addition but also the inclusion of a scene we had never seen before--a scene in which Chaplain Raimondo (Kofi Hayford) accuses Normanno of creating the tragedy.  Normanno fall at his feet in shame.

Trevor Trotto is credited with the lighting and this was most appreciated in the storm scene when Enrico comes to challenge Edgardo to a duel.

Chorus Master Bill Atkinson can be credited with the fine work of the small chorus. Valentin Peytchinov is Artistic Director of Vocal Productions NYC and we cannot help spilling his beans. Next May they will be presenting Verdi's Don Carlos!  After seeing their Contes d'Hoffman and their Lucia di Lammermoor, we are convinced they are not afraid of a challenge.

On a final positive note, the titles were exceptional and added a great deal.  They included identification of which character was singing what.  We need more of this!

It's a great mission to put on fully-staged operas with orchestra, giving young singers an opportunity to perform an entire role and giving audience members an opportunity to see good opera at a minimal price point.  Bravi tutti!

(c) meche kroop