SPANISH INSPIRATION

Gustavo Ahualli, Anna Tonna, Luiz Ottavio Faria, Lucy Arner, and Miguel Borrallo

At this point, dear reader, we have realized just how difficult it is to pull off a successful recital; furthermore we have learned how valuable it is to have a good theme. It was a brilliant idea to present arias from operas that were inspired by Spain, or located in Spain. Quick....how many can YOU name?

Last night, with the stunning Church of the Transfiguration providing an appropriate backdrop, we were treated to a satisfying survey of arias and ensembles drawn from some of these operas, sung by an experienced cast. At this level of singing our attention is drawn to interpretation and emotional content. If we see in our mind's eye an imaginary setting, or perhaps a remembered one, we know the singer is giving her/his all. Last night we heard just such a cast, accompanied by the excellent pianist Lucy Arner.

Ladies first! We have heard mezzo-soprano Anna Tonna many times and feel that this was the best we have ever heard. Perhaps there was something in the music that inspired her, just as the country of Spain inspired the composers.

She opened with what must be every mezzo's favorite aria, "Una voce poco fa" from Rossini's comic masterpiece Il barbiere di Siviglia. With a beautifully textured tone, Ms. Tonna used a variety of vocal colors to capture the nuances of a basically good young woman who is capable of all kinds of devious behavior to get her way. Ms. Tonna's embellishments to the vocal line were often incredibly inventive and illustrated Rosina's fiery temper. The gestures and facial expressions sprang directly from the text. Altogether a fine performance!

From Donizetti's La favorita, "Fia dunque e vero...Oh mio Fernando" was performed with dramatic recitativo and a lovely legato aria with a fiery cabaletta. We couldn't help but admire the secure placement of the voice. The purity of the vowels was ensured by an accurate embouchure. The sound of "maledetta, disperata" still rings in our ears. Povera donna!

If we had to name our top five favorite operas by Verdi, Don Carlo would surely be among them. We were fortunate to hear several selections which brought to mind the first time we saw the opera at the Metropolitan Opera with Dmitri Hvorostovsky in the role of Rodrigo, the Marquis de Posa. 

Ms. Tonna sang Princess Eboli's Act II aria in the original French with a fine brightness of tone in the upper register and flights of fioritura. We detected a strong whiff of saffron in the melody.

The other selections from Don Carlo took up a major portion of the program. The male members of the cast were similarly excellent. It isn't often that we hear Verdian voices since we write mainly about singers at the beginning of their careers. 

We always wonder how Verdi's music could make us feel pity for King Filippo who is a thoroughly reprehensible character. The performance of "Ella giammai m'amó" by bass Luiz Ottavio Faria accomplished just that as he realizes the wife he stole from his son (!) has never loved him. Faria's voice is authoritative and his delivery revealed a deep understanding of the text. To the credit of the accompanying pianist Lucy Arner, the theme was beautifully highlighted.

Argentinian baritone Gustavo Ahualli showed depth of tone and depth of feeling in his delivery of "Per me giunto", Rodrigo's aria of self-sacrifice. There was a great beauty of harmony in Mr. Ahualli's duet with tenor Miguel Borrallo "Dio che nell'alma infondere" in which they establish their loyalty and brotherhood. We'd call it perfect casting! Mr. Borrallo has a ringing tenor with lovely overtones.

Mr. Borrallo also had his special moments with other composers: from Mozart's Don Giovanni, we heard Don Ottavio's aria of devotion "Dalla sua pace" sung with tenderness. This artist utilizes dynamics to expressive ends; the messa di voce was more than admirable.

He also had a chance to exhibit his bel canto chops with one of the best arias in the tenor fach--Nemorino's showstopper "Una furtiva lagrima" from Donizetti's L'Elisir d'amore. There were a couple times we wished he would back off a bit at the upper register; we notice this a lot when tenors go for volume. Just in case you were wondering about the inclusion of this opera on the program, Mr. Borrallo assured us that the setting is the Basque part of Spain. We believe him!

"Lo vedremo, veglio audace" from Verdi's Ernani was introduced by a propulsive piano, after which baritone and tenor joined once more in gorgeous harmony. The entire company sang the ensemble from the finale of Act I and we wished that we knew the opera better. Mr. Faria's booming bass filled the sanctuary of the church with overtones in "Infelice tu credevi" and dug deeply into the sound at the lowest end of his register.

We enjoyed the trio from Donizetti's Don Sebastiano, although we know nothing about the opera. Ms. Tonna sang a phrase and then Mr. Borrallo and Mr. Ahualli joined in with harmony. We realize that our high estimation of Donizetti's artistry has been "kicked up a notch".

Finally, let us mention something about the Brazilian composer Antônio Carlos Gomes. We have heard excerpts from his opera Salvator Rosa but never heard the entire opera. The libretto is in Italian and the music is definitely worth a hearing. Thanks to Mr Faria we heard "Disposo di Padre", a gem indeed.

The program was presented by Centaurus Artes which showcases artists from Spain and Latin America.

© meche kroop

TO MY FRIEND, WITH LOVE

Samina Aslam, Joseph Krupa, Janara Kellerman, and Amber Smoke

"To My Friend, With Love" was the title of Janara Kellerman's recital yesterday at Rutgers Presbyterian Church. The recital was dedicated to WWII veteran and veteran baritone/coach Charles Dunn; however it also reflects the feelings that members of the audience must have felt in the warm embrace of this welcoming artist with stage presence to spare.

What makes a singer memorable comprises a warm stage presence, a thrilling instrument, well-developed technique, keen dramatic instincts, and linguistic capability. Mezzo-soprano Janara Kellerman is so gifted in each aspect that we wonder why she is not onstage at The Metropolitan Opera.

She was brought to our attention three years ago by Maestro Keith Chambers, Founder and Music Director of New Amsterdam Opera who has a knack for finding grand voices and putting them to good use. We last heard Ms. Kellerman grabbing the lead role of Massenet's Hérodiade in her teeth and running with it.

We have also enjoyed her Preziosilla in Verdi's La Forza del Destino and her Ortrud in Wagner's Lohengrin, as well as her Santuzza in Mascagni's Cavalleria Rusticana--all with New Amsterdam Opera. Toning down her glamor, she made a fine Mama Lucia in the latter opera, with the Martha Cardona Opera.

Yesterday we enjoyed her generous mezzo-soprano instrument in a varied program that left nothing to be desired (and no post-modern atrocities to be endured), giving ample evidence of her artistic versatility.

Although Ms. Kellerman scarcely resembles Cinderella in her physical appearance, her facility with Rossini's florid writing made "Nacqui all'affanno...Non più mesta" a joy to the ear. Her voice filled the sanctuary of Rutgers Presbyterian Church, soaring to the rafters. The aria was delivered with expressive legato and clean fioritura; the cabaletta was filled with fireworks.

Switching to lieder by Brahms did not faze her a bit and her German was notably accurate. "Immer leise wird mein Schlummer" is a lied we could never  get through without tearing up and Ms. Kelllerman's dramatic delivery painted a picture for us of this dying woman desperate for a visit from a distant beloved. In "Die Mainacht", she wove a melancholy spell and in "Von ewiger liebe", she sang with steadfast tone, echoing the words of the faithful woman.

Dalila is the perfect role for a mezzo with dramatic instincts. This serpent of a woman must appear maximally seductive toward Samson, her prey; but the audience must get a whiff of her manipulative behavior and destructive intent. We have seen some famous artists in the role but don't think we have heard Camille Saint-Saëns' sinuous vocal line better sung.

We heard another side of her artistry in a trio of French mélodies--all little gems. Henri Duparc's "Chanson Triste" was delivered with gorgeous Gallic flavor and we enjoyed the pianissimo passages. "Extase" was performed with lovely languor. Alfred Bachelet's "Chère nuit" was a tender tribute to a lover.

Carmen is a role tailor-made for Ms. Kellerman, a role in which she can let out all the stops. We were fortunate to hear her build the excitement in "Les tringles des sistres tintaient" and later, as an encore to the program, the "Habanera" performed with plenty of gestural emphasis. This Carmen is one wild woman!

Ms. Kellerman is also adept in Castilian Spanish and we loved the varying moods of Manuel de Falla's Siete Canciones Populares Españolas. There is ironic inference, heartbreak, grief, tenderness, and even a gentle lullaby. But it is the insistent rhythm of "Polo" that leaves us shaking.

The program closed with a special treat--the trio in the Finale of Richard Strauss' Der Rosenkavalier. Ms.Kellerman took the role of Octavian with guest artists soprano Amber Smoke as the Marschallin and soprano Samina Aslam as Sophie. We would have enjoyed it more without those loathed music stands but hey, we are always happy to hear three gorgeous female voices in harmony.

The excellent accompanist Joseph Krupa kept right up to every demand, every line, every rhythm, every mood. We particularly enjoyed him in the exotic music of Saint-Saëns and in the propulsive "Polo".

What a way to spend a Sunday afternoon! It was only 90 minutes of singing; we felt fulfilled but we could have listened for another half hour at least.

(c) meche kroop

STEALING MY HEART

Alisa Jordheim and Erik van Heyningen in Rossini's La Gazza Ladra
(Photo by Steven Pisano)

All it took to convert a cranky critic (thanks to insufferable heat and the MTA) into a smiling audience member was the overture to Rossini's opera semiseria La Gazza Ladra, so charmingly played by the conductorless Teatro Nuovo Orchestra. Beginning with an astonishing roll of the drums, the sparkling melodies tumbled out helter-skelter in an amazing variety of rhythms, time signatures, and tempi. The march let us know that someone was coming home from the army. The profusion of melody that followed made us wish that some of them could be lent to today's composers who seem unable to produce a single one of their own!

We were tickled to meet the titular character played by one Christopher Hochstuhl--a handsome bird indeed, dressed in a black cape with feathered collar, representing the thieving magpie himself. We have noticed this bird on various ski trips due to its vivid black and white markings but we never knew that it is known for its intelligence and is the only non-mammal that can recognize itself in the mirror.  But we digress.

We begin in the home of the Vingradito family. Pippo is organizing a welcome party for young Giannetto who is returning from military service. Especially excited is the servant Ninetta who is in love with him. His father Fabrizio is perfectly happy with the match but his mother Lucia is not.

In the pants role of Pippo, a family friend, we heard mezzo-soprano Hannah Ludwig who impressed us with the rich texture of her voice and her lively warm stage presence, not only in the opening scene but throughout the opera when she provides loving support for Ninetta.

Soprano Alisa Jordheim, who delighted us in the role of Serpetta in On Site Opera's production of Mozart's La Finta Gardiniera, impressed us again last night with her brilliant focused instrument, equally well deployed in the lyrical cavatina and in the coloratura passages of the cabaletta. She has a winning stage presence that makes you want to see her happy.

Baritone Rob McGinness sang well and was convincing as Fabrizio. His wife Lucia was brilliantly portrayed by mezzo-soprano Allison Gish, whom we have often reviewed in her work with New Camerata Opera, Cantanti Project, Dell'Arte Opera, and ARE Opera (now City Lyric Opera). We are not surprised that this excellent young singer is cast a lot; her voice is richly textured and her acting thoroughly convincing. We loved the change in vocal color at the end when she begins to care for her future daughter-in-law.

Tenor Oliver Sewell had the part of Giannetto, singing and acting with conviction. Each time we have reviewed him we have had the same thought. How much better he would sound if he stopped trying so hard. Even when the orchestra was silent he seemed to push for unnecessary volume, depriving his upper register of the spin and ping we'd like to hear. The promise is there but the work needs to be done to kick his performance up to a "10".

The plot is set into motion by the arrival of Ninetta's father Fernando, superbly sung by bass-baritone Erik van Heyningen. Mr. Heyningen has been on our radar since his apprenticeship at Santa Fe Opera. We think he has a great deal to offer! Fernando has deserted the army after an unfortunate incident with a superior officer.  He needs money with which to flee his fate and asks his daughter to sell some silver and leave the proceeds for him in a secret place. His initials on the silver are the same as those of Ninetta's boss and when Lucia notices some missing silver she accuses Ninetta of theft.

Ninetta has sold her father's silver to the peddler Isacco, well portrayed by tenor Spencer Viator, whose performance as Count Belfiore (in the same production in which we heard Ms. Jordheim) was recently reviewed. Isacco cannot come to Ninetta's defense because he has already sold the silver. Ninetta cannot defend herself without implicating her father; she remains silent.

There is an evil Podestà who has been trying for some time to win Ninetta's affection; his importuning has only alienated her. At this point he decides to press his advantage and get her to submit.  Another #metoo moment! The role was well portrayed by bass Hans Tashjian whom we have also reviewed a number of times. We seem to like him more and more with each performance. Of course, he always plays "the heavy" but such is the fate of basses.

Fernando risks his own life to come and support his daughter and things look pretty bad for both of them. Ninetta is convicted of theft and led to the gallows, accompanied by a funeral march that surely inspired Chopin, who was a big fan of Rossini (as are we).

Fortunately, the missing silver is discovered in the magpie's nest and Fernando has been pardoned by the King. Lucia now accepts her daughter-in-law to be, everyone is happy except for the Podestà, left to stew in his own remorse.

Aside from gorgeous arias (Ninetta and Giannetto each have a sweet cavatina) there are a number of stunning duets, not only between the lovers but between father and daughter. There was a trio in Act I involving Ninetta, Fernando, and Il Podestà in which the harmonies were so exquisite we got a bit teary-eyed. Father would risk his own life to save his daughter's honor!

Ninetta's prayer in Act II was another highlight, as was the septet at the end of Act I in which everyone is confused, just like in Rossini's comedies. It is no secret that Rossini stole from himself and all through the opera one can hear melodies from his other operas. Do we mind this? Absolutely not.

The only thing we minded, come to think of it, was the overly long scene in Act II which was so repetitive that we would have cut it by half at least. And one other cavil which also troubled us the previous night. The font of the surtitles made the words more difficult to read than they needed to be.

We sat on the other side of the theater than we had the prior night and got a better look at the arrangement of the orchestra, how they related to one another, and how maestro al cembalo Rachelle Jonck conducted. There was an exquisite solo on the baroque flute with some competition from the baroque oboe, both wooden and soft in tone.

Teatro Nuovo's second year has exceeded our expectations and we support Will Crutchfield's effort to restore bel canto opera to its original form. Count us fans!

(c) meche kroop

UNA VOZ UN MUNDO

Danza Familia Latina

The people of Guatemala, a country we visited and loved, has suffered some dreadful blows in June and July, from volcanic eruptions to earthquakes. So many worthy organizations have come to the rescue.  Last night, Una Voz, Un Mundo, an organization devoted to humanitarian aid, arts advocacy, and the celebration of cultural diversity, presented a concert in support of the People of Guatemala.

There was something for everyone on the program, from lively colorful folk dancing to zarzuela (YAY!) and opera, not to mention jazz saxophone, and classical piano. There was also some amplified shrieking that hurt our tender ears but on that we will not dwell.

Both accompanist and soloist, Abdiel Vázquez delighted us with "Chopin's D-flat Major Nocturne", followed by a welcome medley of Gershwin tunes.

He accompanied three singers that we greatly enjoyed. Soprano Teresa Castillo put a great deal of her own flirtatious personality into "Carceleras" from Ruperto Chapí's zarzuela-- Las Hijas del Zebedeo. Her bright sound and pleasing vibrato were especially lovely in the vocalise portion. There was another song in Spanish the title of which we did not get, since the program was incomplete.  But it seemed to be about the jungle and the shade--selva y sombra.

We don't hear Spanish music as often as we would wish and hoped that more of the program would be in that beautiful language. We had most of our desires met.

After a fine performance of "Anzoleta avanti la regata" from Rossini's La regata veneziana, the excellent mezzo-soprano Kat Liu delighted us with two Spanish songs by Federico Garcia Lorca--the haunting "Las Morillas de Jaën" and "Los Cuatro Muleros".

Tenor Mario Arévalo, Founder and Artistic Director of Una Voz, Un Mundo, put his powerful voice to good use, first in Carlos Guastavino's melancholy "La Rosa y el Sauce", and then in "Dein ist mein ganzes Herz" from Franz Lehar's Das Land des Lächelns. 

He joined Ms. Castillo for the duet "Tonight" from Bernstein's West Side Story which was, for unknown reasons, as cruelly amplified as the performance of the screaming pop singer. Such attractive and well trained voices do not require amplification which distorted the natural sound of their voices.

There was some jazz saxophone music played by Thomas A. Giles on an alto sax; we liked the piece by Astor Piazzolla but have no idea who arranged it for saxophone; there was an interesting contemporary piece by Antonio Truyols involving tapping on the instrument and rhythmic breathing.

We also heard some original jazz piano music played by Francis Hon entitled "Morningstar"--all of which was quite nice. There was also a poetry reading.  

We would call this a highly entertaining and eclectic evening. We are reminded of a benefit performance given some years ago for the Chilean earthquake which was organized by our friend Kala Maxym, an event which launched our career writing about opera!

Instead of whining about how tragic something is or praying for people, it is a far better thing to do something concrete. All of the artists involved volunteered for this concert and this makes us very very happy and proud of the music community.

(c) meche kroop

100% and 100 degrees

David Pershall, Maestro Alvise M. Casellati, Larisa Martinez, and Cody Austin

We will have much to say about last night's Opera Italiana in Central Park but let us begin by lauding the singers who performed with 100% commitment in sweltering 100 degree weather. No one less compelling than soprano Larisa Martinez could have pulled us out of our air-conditioned home; her prodigious talent was matched by that of tenor Cody Austin and baritone David Pershall, whose award-winning performances (Giulio Gari and George London) we wrote about in 2016. Last night he made a fine Figaro in the "Largo al Factotum".

We consider ourself to be rather good at predicting future stardom and Ms. Martinez' gifts impressed us from the first time we heard her five years ago, when we found her Barbarina overwhelmingly "winsome". A superb Musetta followed and we have been a great fan ever since. She has fame written all over her and witnessing her rising star has been a privilege.

Although we loved re-hearing Musetta's waltz last night what impressed us the most was her investment in the role of Violetta in Verdi's La Traviata. This role makes incredible demands on the soprano, not just vocally but dramatically. What makes her one of our very favorite female characters is her emotional growth.

In her duet with an appropriately lovestruck Mr. Austin ("Un di, felice") Ms. Martinez successfully portrayed the outwardly indifferent woman who secretly wants true love in her life.  In her confrontation with Germont père (Mr. Pershall), "Pure siccome un angelo", she colored her voice with dignity and restraint with flashes of anger and terror peeking through. Reunited with Alfredo at the end of the opera, (the duet "Parigi, o cara") she colored her voice with a very touching vulnerability and hopefulness.

The duets Ms. Martinez performed from Puccini's Madama Butterfly were excellent as well but were all from the romantic part of the opera and we were left wondering how she might have shown the emotional growth of Cio-Cio San. Mr. Austin's warm tenor made him the perfect romantic partner. We heard just about the entire end of Act I!  This was preceded by a duet between the upstanding consul Sharpless (Mr. Pershall) and the callow Lt. Pinkerton (Mr. Austin) who shows the audience his true colors.

There were other delights on the program. Soprano Jennifer Zetlan was joined by "vocalist" Helga Davis for an arrangement of Paola Prestini's Oceanic Verses. The shimmering texture of Ms. Prestini's orchestral writing were balm to the ear but we couldn't understand a word of Ms. Zetlan's Italian. Although the tonal quality of her voice was superb, we couldn't even tell it was Italian until we looked at the libretto. We cannot fault the sound design (uncredited) because the other singers were perfectly clear. We wonder whether the tessitura remained too long in the upper register. By contrast, Ms. Davis' smoky low tones were kind to the text, even though it was in English.

There were orchestral treasures to delight us as well. Maestro Alvise M. Casellati conducted a spirited reading of a couple of Rossini overtures that reminded us of the composer's gift for both memorable melody and rhythmic thrust. The overture from La Gazza Ladra came early in the program and had us tapping our toes.  The overture from William Tell was performed in its entirety with a profusion of themes that could only be described as "l'abbondanza". There was happily no haste to get to "The Lone Ranger" theme and we enjoyed the slower lyrical section equally, if not more.

It must be noted that the orchestra comprised seasoned players from The Metropolitan Opera Orchestra as well as gifted young musicians from our three local conservatories. From this diverse group, Maestro Casellati melded a fine unit.

The evening was produced and hosted by Dani Bedoni, sporting bejewelled butterfly sunglasses.  Her warmth and enthusiasm exceeded her familiarity with the Italian language and opera. She graciously brought to the stage Ms. Prestini and the teenaged Pauline Castro, a member of the New York Philharmonic young composers program, whose symphonic work opened the program.

The event was listed as a free event at the Naumberg Bandshell in Central Park; like so many other cultural events in the city, the benefits were heavily weighted towards the well-to-do. Only supporters got to sit in the chairs set up behind velvet ropes; we were rather impressed by their Italian style. Everyone looked as if they had just come from the salon or the spa. Men wore suits and ties. Women were groomed to a fare-thee-well. Meanwhile the paesani of NYC sat on the cement off to the side or on chairs they lugged from home. It may have been a smart move to watch the livestream from home!

The singers sang in the bandshell with the orchestra situated in front at audience level. Maestro Casellati occupied a large platform and we wished the singers had also been on the platform. If you have seen the fuzzy photos on our FB page (Voce di Meche) you will realize how far the audience was from the bandshell. Actually we were on the second row. For the finale "Libiamo", the singers moved toward us, making for a better experience. We were invited to sing along but no one did.

We just remembered that we were among those who vigorously protested the tearing down of the Naumberg Bandshell some years ago. We are so glad our efforts succeeded. What a great use it was put to last night!

(c) meche kroop

ANY FRIEND OF VIRA IS A FRIEND OF MINE

David Sytkowski, Elizabeth Pojanowski, Samuel Schultz, and Vira Slywotzky

A new vocal series is something to get excited about! We enjoyed Vira & Friends Sing the Classics so much that we have already put the next recital on our calendar and so should you; it will be at 5:30 on September 15th at the same location--Scorca Hall of the National Opera Center.

Two things impressed us right away in addition to the singing. Firstly, the programming was given over almost totally to story telling. Each singer performed at least one cycle each of which was like a mini-opera.

The second thing that impressed us was hearing an excellent collaborative pianist whom we'd never heard before. David Sytkowski doesn't play much in New York so we consider ourselves fortunate to have heard him, bringing out so many subtleties of the accompaniment whilst supporting the singers with sensitivity and generosity. We appreciate the lid being on the long stick for maximum tone.

Soprano Vira Slywotzky-- whom we have reviewed so many times with 5BMF, Mirror Visions Ensemble, Light Opera of New York, and Victor Herbert Renaissance Project Live--welcomed the audience and got things started with a trio of songs by Stefano Donaudy from Arie di Stile Antico.

Donaudy was a contemporary of Giacomo Puccini who looked forward in time and moved opera into the 20th c. whilst Donaudy often looked back into the Baroque. Ms. Slywotzky has a lively and inimitable personality that serves her well in song interpretation. There were no titles or translations but the singers introduced the songs of their choice and told the audience what the song was about--a reasonable alternative.  

"Sorge il sol! Che fai tu?" was performed with appropriate gaiety. "Sento nel core" was filled with Baroque sensibility and a pleasing excitement. In "Vorrei poterti odiare", Mr. Sytkowski's frisky piano and Ms. Slywotzky's exaggeratedly rolled "r"s limned the ambivalence of the song's text.

In Debussy's Trois Chansons de Bilitis, we heard a somewhat different interpretation than we heard the last time. That is what is so great about art, that it can be interpreted in many ways. The last time we heard this cycle, the woman was giving us snapshots of three stages of her life with the third song interpreted as one of a late stage breaking-up love affair with all the magic gone.  Ms. Slywotzky's interpretation was far more sanguine with the man showing the woman what she was longing for through a shard of ice.

Her final selection was Schubert's setting of von Collin's horrific "Der Zwerg", the story of which we have always detested. But she told the tale well, in spite of being "on the book". Her dramatic abilities are keen and just a touch more differentiation of color among the narrator, the young Queen, and the murderous dwarf would have pushed the performance into a higher level. We kept thinking of the four voices necessary for Schubert's "Erlkonig".  We hope she will perform the song again without the music stand.

We had only heard mezzo-soprano Elizabeth Pojanowski once before in Greg Kallor's The Tell-tale Heart. It is difficult for us to evaluate a singer's vocal artistry in contemporary works, especially sung in English. We only recall her theatrical flair. But listening to her singing Rossini's late-life cycle La Regata Veneziana enabled us to appreciate her voice as well as her dramatic skills.

We got to hear Anzoleta's anticipation of her lover's competition in the regatta, her wild excitement during it, and her pride and satisfaction in Momolo's winning.  All this in Venetian dialect! It was a splendid performance of an old favorite of ours and of mezzo-sopranos everywhere.  Where would mezzos be without Rossini!

We were slightly less enthusiastic about her performance of five excerpts from Robert Schumann's Frauenliebe und -Leben. For one thing, we missed our favorite songs. For another, we were distracted by the singer's inconsistency with the "ch" sound. At times it was correctly pronounced; at other times it was almost omitted, and occasionally it was too 'hard'. This flaw is so common in American singers but it shouldn't be! There are always some of us in the audience who are German speakers and who will notice the lapse.

We understand that this cycle has personal meaning for Ms. Pojanowski who has lived through courtship, marriage, and motherhood and we wanted so much to be drawn in but the German got in our way. We also like to hear more change in color from the starstruck adolescent in "Seit ich ihn gesehen" to the mother in "An meinem Herzen". Perhaps if the singer had performed the entire cycle straight through to widowhood we might have heard this evolution.

The third singer on the program was mellow-voiced baritone Samuel Schultz, heretofore unknown to us. We have heard Ravel's cycle Don Quichotte à Dulcinée several times this year and love the opportunity it gives the baritone to show three separate emotions. He is the ardent lover, then the virtuous devoté of the saints, and finally, the bibulous knight in his cups. Show us a singer who doesn't love to play drunk or an actor who doesn't love a good death scene!

We found Mr. Schultz' French adequate, as we did Ms. Slywotzky's in the Debussy, but our native French-speaking companion thought somewhat less of their linguistic skills.

Speaking of which, Mr. Schultz' English was totally comprehensible in the final set of songs--and that's rare. What we heard did nothing to improve our opinion of contemporary composers' ability to write for the voice. We believe that their choice of text is largely at fault.

Erich Korngold's setting of Margaret Kennedy's "Tomorrow" was just gloomy. These two icons of the 20th c. were contemporaries. Although Mr. Schultz gave clarity to each word, we found our mind wandering.

In Everyone Sang, a song cycle by the living composer David Conte, we were happy to focus on Mr. Sytkowski's performance of Mr. Conte's lovely writing for the piano, but the vocal line and the text struck us as typically uninspiring, in spite of the fact that the singer was coached by the composer. Perhaps 19th c. composers just knew how to select text that would "sing".

Let it be noted however that the sizable audience applauded mightily and seemed not to share our indifference.

Vira & Friends merits financial support and if you are a fan of art song recitals, you might want to see the website for updates. www.viraslywotzky.com/engagements.  Or email to info@viraslywotzky.com.

(c) meche kroop

I AM CARRREÑO

Stephanie Chase, Isabel Pérez Dobarro, Anna Tonna, and Robert Osborne

Last night's recital was much more than a recital. It was a dramatic and musical biography of a notable female figure who is rather unknown in the USA but who deserves to be celebrated. For this celebration we must thank The Hispanic Society Concert Series which was initiated in 2010 to promote the music of Spanish and Hispanic composers.

Teresa Carreño was born in 1853 in Venezuela to a musical family which moved to the USA. A childhood prodigy she toured the world as singer, pianist, composer, and conductor. A huge arts complex in Venezuela bears her name. This fiercely independent woman lived life on her own terms and married four times; two of her husbands were brothers. The program notes of dramaturg August Ventura (best known for his film about the Verdi fanatics of Parma) were replete with interesting tidbits.

Mr. Ventura's script, tying all the musical numbers together, made use of Carreño's own words and those extracted from the correspondence of those who knew her, as well as critics and contemporaneous biographers. The selections on the program were composed by her, or by those in the music world who championed her, befriended her, or studied with her.

It was surely a labor of love to research all this material and construct a script. Bass-baritone Robert Osborne performed the musically equivalent labor of love in reconstructing and transcribing her scores and manuscripts.

Her talent was so varied that two artists were required to represent her onstage. As Carreño the singer, we had mezzo-soprano Anna Tonna; as Carreño the pianist, we had Isabel Pérez Dobarro. Both women, as well as violinist Stephanie Chase rocked gorgeous late 19th c. gowns and hairstyles, transporting us to our favorite epoch.

Mr. Osborne portrayed the men in her life and was also spiffily clad in period attire and in fine voice as well.

The program opened with her jaunty Intermezzo scherzando which left no doubt about her superb writing for piano. Gottschalk's The Dying Poet was given a lyrical waltz treatment. That she could write for other instruments as well as piano was demonstrated by her Romance for violin and piano.

But our favorite work for piano was Chopin's Mazurka, op.33, no. 1. The work is in Rondo form and the first theme overwhelmed us with it's sorrow; it is never lugubrious but we heard plenty of pain. The second section sounded a note of triumph. Each time the first section was repeated, the color became a little brighter and by the end it was almost cheerful. Ms. Dobarro must be a magician on the keys to limn so much subtlety.

There were two devilishly difficult pieces on the program that did not faze this gifted pianist: "Lizst's Transcendental Etude #10" and Edward MacDowell's "Hexentanz".

We enjoyed a couple of duets from Ms. Tonna and Mr. Osborne. We particularly enjoyed Anton Rubinstein's tender Der Engel. "La ci darem la mano" from Mozart's Don Giovanni can be performed countless ways and our two artists put their own spin on it.  Mr. Osborne's Don was more authoritarian than seductive and Ms. Tonna was less coy and sang some of the lines as if they were private thoughts, not shared with the Don. We usually hear a soprano in this role but Ms. Tonna's voice was well suited to the role.

Ms. Tonna also excelled in Rossini's "A Granada" which seemed perfect for her warm tone and graceful phrasing. There was some lovely melismatic singing in a Carreño piece entitled "Barcarola".

Another Carreño piece "Feuillet d'Album" was sung by Mr. Osborne in his customary fine French which he also employed in Gounod's famous "Sérénade", a melodic setting of text by Victor Hugo to which Stephanie Chase's violin contributed.

We liked these better than "Sebastianos Tanzlied", composed by Eugen d'Albert, one of Carreño's husbands. This had nothing to do with Mr. Osborne's performance but it seemed off-kilter that a French composer wrote about a Spanish theme, in German.

The program ended with "La Serenata" by Gaetano Braga, a duet with which Carreño usually ended her program. All four artists joined for a beautiful finale.

The program entertained and educated. We hope to see works by Carreño on more programs.

(c) meche kroop

MATCHING BRACELETS

Philippe L'Esperance and Hongni Wu in Rossini's La Cenerentola

Once upon a time our parents read us the softened version of Cinderella, cleaned up so as not to frighten small children; you know, the Disneyfied version.  Since then we have read the original violent and scary versions by Charles Perrault and Wilhelm Grimm.  

We do not know which version librettist Jacopo Ferretti adapted but he wrote the libretto in three weeks (repurposing some music already written), replacing the wicked step-mother with an abusive step-father and the fairy godmother with the kindly tutor Alidoro. Similarly, the glass slipper was replaced by a bracelet. It is believed that the circumstances of production in 1817 did not allow for elaborate magical effects.

Nonetheless, there are elaborate magical effects in the music, created by Gioacchino Rossini in barely more than three weeks! That guy could sure work under pressure.  He was but 25 years old and already had Il Barbiere di Siviglia under his belt. We love Rossini for his sparkling tunes, his lively ensembles, and also because he wrote such great roles for the mezzo-soprano fach.

Last night we attended a performance of this comic masterpiece held at the very suitable Gerald W. Lynch Theater at John Jay College, utilized because the theater at Manhattan School of Music is under construction. We had the most marvelous time!

Everything worked in concert to provide an evening that proved that high culture and entertainment can coexist. Probably, in Rossini's day, opera was just entertainment, but in our time, people expect opera to be a bit forbidding.  It doesn't have to be, as this rollicking production has proven.

A highly talented cast revealed not a single weak link. As the much put upon title character, we heard mezzo-soprano Hongni Wu, whose distinctive instrument and engaging onstage presence made a huge impression. We have heard her several times before and will hear her next Sunday at the Met National Council Finals. She fully deserves to win!

This opera cannot work unless the title character wins our heart. We do not care whether she is spunky or submissive, as long as she is engaging. We must want her to win the Prince!

We do want to say a word about technique. We came to the opera directly from a master class with Joyce DiDonato who coached a young mezzo in the final aria "Nacqui all'affanno...Non piu mesta". We are pleased to report that Ms. Wu was not just engaging but vocally perfect--legato where indicated and bursting with fireworks in the fioritura.

Her Prince Ramiro was portrayed by the princely tenor Philippe L'Esperance, also a familiar voice in our ear. His tenor is just as sweet as we would want it and his bearing was aristocratic. But he was not at all stiff.  Just watching his face as he observed his valet pretending to be him (and playing it way over the top) was a lesson in "reactive acting". To put a "plus" after the "A", all he needs is a bit more float in the top notes.

Baritone Dongwei Shen created a marvelous character--reveling in the opportunity to play the Prince, and playing it to the hilt. Swathed in red velvet and white "fur" trim, he courted the two step-sisters assiduously and successfully, but he couldn't succeed with Cenerentola whose heart was already stolen. We enjoyed his phrasing and pleasing tone.

Bass-baritone José Luis Maldonado has always impressed us with a voice as large as his frame and an easy dramatic focus that convinces us of whatever character he is playing.  Here, he is Cenerentola's mean step-father who has used her patrimony to provide lavishly for his two natural daughters.

Traditionally, Tisbe and Clorinda are played as stereotypically spoiled and vain. We are happy to report that no new ground was broken and we were able to enjoy lots of laughs at their expense. Soprano Kelly Singer as Clorinda and mezzo-soprano Polixeni Tziouvaras as Tisbe were as superb in their vocal harmony as they were vicious in their competitiveness.

The character that makes everything happen is Alidoro, Prince Ramiro's tutor. Bass-baritone Andrew Henry sang with marvelous musicality and was as convincing as the beggar as he was as the guiding force. Who needs a Fairy Godmother when you have such a wise and generous tutor!

Jay Lesenger's direction was always spot on with a number of clever touches that were unique to this production. We loved the scene in which Cenerentola's imagination runs away with her in Act II, Scene 2. Also notable was the scene in which the Prince's courtiers march on in unison, each bearing a rose for the fake Prince to snatch. The courtiers were played by Hyunsung Shin, Zachary Brown, Ethan Fran, Yongjae Lee, Wenjie Ma, Alexander Mason, Tommy Wazelle, and Shuo Yang. Their choral work was stellar, thanks to Miriam Charney.

Less was heard from the Ladies of the Court who only appear in the final scene--Nuriel Abdenur, Xiaotong Cao, Chia-Wen Chen, Qiyu Chen, Sulgi Cho, Peiyao Hu, Shinhye Kim, and Jianing Zhang. Their voices harmonized well and they looked great, thanks to Costume Designer Elizabeth Clancy.

Sets by Peter Harrison worked well. The home of Don Magnifico contained a chimney for Cenerentola to sweep at one end and a vanity at the other end, with dozens of hatboxes stacked up for Tisbe and Clorinda to demonstrate their self-absorption.

To portray the gardens and the vineyards of the palace, there were hedges and arches dropped from the flies and hoisted when not needed. We cannot forget the scene in which Don Magnifico proves his worthiness to become the wine steward with a tastevin around his neck. There is something very funny about well-performed intoxication.

We must say a word about Julie Duro's lighting design. It was an inspired choice to radically darken the stage and highlight the individual who was having a private moment, such as the aforementioned scene when Cenerentola has returned home and is beset by fantasies.

Gary Thor Wedow used his animated hands to elicit a musically marvelous performance from the MSM Opera Orchestra. None of the superb vocal performances could have happened without their devotion to Rossini's melodies.

(c) meche kroop

WONDER WOMEN

Elad Kabilio and Kirsten Scott at Interface

Elad Kabilio's "Music Talks" are designed to break down the barriers between musicians and audience. Guests at the comfortable Interface on 30th St. are invited to get a drink, to sit on comfortable sofas in an informal arrangement, to learn from the lively and knowledgeable Mr. Kabilio, and then to listen in a new way.

Last night's theme, part of Women in the Arts Festival, was a celebration of Women's History Month and paid tribute to the strong heroines of opera. The liberation we take for granted today was not always the case and these operatic heroines were ground breaking exemplars.

A most interesting feature of the evening was the choice of artists. Mezzo-soprano Kirsten Scott and maître de chant Laetitia Ruccolo are two strong women themselves who got together and formed Bare Opera, an alternative female-run opera company that utilizes unusual spaces to present fresh takes on opera--immersive and intimate. Ms. Scott is Artistic Director and Ms. Ruccolo is Music Director. We have been writing about them for about 3 years. We love what they do.

Mr. Kabilio interviewed Ms. Ruccolo about her role at the piano. She doesn't like the phrase "collaborative pianist" and prefers the French title "maître de chant" to express her wide ranging work in coaching singers, preparing the program, and multiple other tasks.  Ms. Scott was given the opportunity to describe each operatic heroine about whom she was singing. The two women selected the arias to be performed.

We are not sure what the compelling Ms. Scott sang at her Carnegie Hall debut last weekend but everything she sang last night was stellar. The program opened with "Cruda sorte" from Rossini's L'Italiana in Algeri.  Isabella is a strong woman who goes off to Algiers to rescue her lover. The delivery was superb.

Rossini loved his strong female roles, mostly mezzo-sopranos. We have heard Ms. Scott on a prior occasion singing "Una voce poco fa" from Il Barbiere di Siviglia and we loved the way she handled the various sections of the aria and limned Rosina's character through the fioritura. The performance has only gotten better with even more attention to the details of her personality. As she explained, this is an "entrance aria" meant to establish the character. She added that Rosina "keeps me on my toes".

From Purcell's opera Dido and Aeneas, she sang the sad aria "When I am laid in earth", explaining that Dido's strength was not one of accomplishment but an inner reserve that helped her face death fearlessly.

Strength of character is also exhibited by Charlotte in Massenet's Werther and Ms. Scott gave us a lovely performance of "Va! Laisse couler mes larmes" which illustrates the manner in which a tearful catharsis allows women to be strong. She not only captured Charlotte's character but did so with long melodic lines.

Mezzo-sopranos are often called upon to sing en travesti, and Bellini gave the part of Romeo in I Capuleti e i Montecchi to a mezzo. We enjoyed hearing Romeo's aria "Deh tu, bell'anima" in which Ms. Scott used her vibrato to express the character's grief when he believes Juliet to be dead.

In Les Contes d'Hoffman, the hero's muse assumes the identity of a friend Nicklausse who must be strong where Hoffman is weak; she extricates him from some hairy situations. We heard Ms. Scott perform the "Violin Aria" and it took us back to 2013 when she performed this role with Martina Arroyo's Prelude to Performance.  Again, she has only refined the character.

Similarly, we reviewed her Cherubino in 2013 and remember well how persuasive she was in the role, exhibiting all of the character's anxiety and energy.  It was a pleasure to revisit "Voi che sapete" from Mozart's Nozze di Figaro and we enjoyed hearing her tell the audience some of the excitement and challenges of singing en travesti.

Before bringing out the big guns for Carmen, the stage was turned over to the lovely cellist Laura Metcalf who played Hollman's Carmen Fantasy for Cello and Piano. Mr. Kabilio explained the function of these "fantasies" as a means of bringing the operas into the home in an era before radio, TV, CD's and internet. Ms. Metcalf and Ms. Ruccolo played beautifully together and yes, all the big tunes were heard within ten minutes.

Concluding the program were selections from Bizet's opera. The strength of Carmen is undeniable. She lived and died on her own terms--fiercely and fearlessly. We heard the "Seguidilla", the "Habanera", and "En vain pour eviter" from the card-reading scene. All were vocally splendid and dramatically affecting.

This was the perfect evening to have introduced newbie friends to opera.

(c) meche kroop

OPERA LIVES OUTSIDE NYC

Onstage--Alexis Cregger, Nate Mattingly, Maestro Fernando Palomeque, Madison Marie McIntosh, Ivan Ramiro, Brian Alvarado, Andrea Howland, and Mark Watson

A couple years ago we learned that opera lives across the East River, and last night we realized that opera lives across the Hudson as well.  Under the stewardship of General Director/soprano Mia Riker-Norrie, Opera Theatre Montclair has developed quite a loyal following in the community and created a sizable and devoted audience. Rossini's La Cenerentola was the perfect choice for a full-scale production.

We were not the only outsiders lured to New Jersey. Sharing our enthusiasm was retired soprano Elinor Ross, Maestro Keith Chambers of New Amsterdam Opera, and heartthrob tenor Vittorio Grigolo. What drew us was an opportunity to hear one of our favorite young artists perform what must be called her "signature role". Mezzo-soprano Madison Marie McIntosh first came to our attention four years ago when we decided she was someone to watch.

This lovely young woman has it all--talent, looks, and enough intelligence to direct her career, as well as the dedication to make it happen. Having changed her fach from soprano to mezzo-soprano, she has retained the brilliance and flexibility necessary for bel canto singing and seems to be expanding the resonance of her lower register. We have never enjoyed "Non piu mesta" more!

The dramatic skills she evinced in the leading role were matched by the rest of the cast in a theatrically involving production of Rossini's tuneful and touching comedy.  Responsible for the inspired direction was counter-tenor Nicholas Tamagna who framed the opera as a silent movie of the 1920's, with the film-director portrayed by bass-baritone Mark Watson, who also sang the role of Alidoro, Prince Ramiro's tutor. David Gillam's gorgeous costume designs evoked the styles of Poiret.

The singing was excellent all around with Alexis Cregger creating a Clorinda of powerful dramatic import. We have reviewed this superb soprano on multiple occasions and have always admired her gleaming tone and connection with the material. As her equally obnoxious sister Tisbe we enjoyed the on point performance of mezzo-soprano Andrea Howland whom we would be happy to hear again. The two nasty sisters worked well together.

As their father, bass-baritone Nate Mattingly, sporting a delightfully ridiculous hairstyle, won us over with a creamy tone, apt phrasing, and excellent comic timing. This is another young artist to watch and we expect that the future holds more development at the bass end of his range.

Tenor Ivan Rivera exhibited an easy bel canto technique and stood out in his aria "Si, ritrovarla io giuro". As his valet Dandini, baritone Brian Alvarado handled his role well and was the perfect foil as he exchanged roles with the Prince and bamboozled Angelina's family.

For us, the most touching moment of the opera was when Angelina tells Dandini, thinking him to be the Prince, that she couldn't marry him because her heart belonged to someone else--the someone else, of course, being the Prince who was disguised as his own valet. At this point, Ms. McIntosh made Angelina's innocence perfectly clear and perfectly adorable.

Adorable in a different way was the hilarious burlesque spectacle of Ms. Riker-Norrie--alias "Mia Vergogna" who sang and tap-danced her way into our heart during a scene change, a lagniappe to be sure!

The chorus of seven men were well-rehearsed and created Angelina's coach in a stunning and imaginative scene. Donning papier mache horse heads, they pulled an imaginary coach the wheels of which were twirling umbrellas. We always appreciate creativity more than expensive sets.

Maestro Fernando Palomeque, whom we heard just this week in a piano recital at the Argentinean Consulate, effectively led the orchestra through Rossini's bubbly score. The orchestra was placed at seating level off to one side so that the opera could be performed both onstage and also below at orchestra level.  This arrangement worked well and the United Way Theatre served well as a home for this production.

Finally, it deserves to be noted that the Italian diction was fine all across the board, but was augmented by projected titles.

This same cast will be performing next Friday night at 8:00 with a partly different cast performing today and next Saturday at 4:00.

(c) meche kroop

LEND ME A TENOR

Dan Saunders, Susanna Phillips, Elizabeth DeShong, and Petr Nekoranec

What to do when the star tenor has taken ill? Just raid the ranks of The Lindemann Program and create a new star tenor! 

Our disappointment at missing Stephen Costello last night at The Metropolitan Opera's Summer Recital Series evaporated 5 seconds into Petr Nekoranec's performance of "La Donna e mobile" from Verdi's Rigoletto. This young tenor is a stage animal with an appealing presence and a thrilling sound. It is quite difficult to evaluate an amplified voice in an outdoor venue although we admit that the sound was as good as could be expected.

We had only the briefest introduction to Mr. Nekoranec last Spring at a Lindemann recital when we loved his voice but not the material.

We could tell that he knows how to use his vocal assets to good advantage and has great skill with the three languages in which he sang, that he modulates his phrases effectively, and knows exactly how to shape a decrescendo. If he holds onto the "money note" a bit too long you will not hear a word of complaint from us.

We will want to hear him unamplified to learn whether the gorgeous timbre and vibrato impress us as much as it did last night. Likewise we will withhold judgment regarding his suitability for Verdi, which sounded just fine with amplification. But we have no doubt that his bel canto technique is perfectly suited for any type of ornamentation.

In "Ah! Mes amis...Pour mon ame" from Donizetti's La Fille du Regiment, he delivered all the high C's without strain, all the while conveying the youthful enthusiasm and excitement of Tonio as he realizes he has won Marie's love. He has a real feel for French and the long luxurious lines of "Je crois entendre encore" from Bizet's Les pecheurs de perles were exquisite. His diction was so fine that we understood every word.

He also gave a stirring account of Agustin Lara's 1932 song "Granada", and a charming performance of the strophic aria "Au mont Ida, trois Deesses" from Offenbach's La Belle Helene. 

Moreover, he "plays well with others", creating the charming Act II "Cherry Duet" from  Mascagni's L'Amico Fritz with soprano Susanna Phillips as his Suzel--and also with the Act I meeting between Rodolfo and Ms. Phillips' Mimi from Puccini's La Boheme. Of course, he had a sensational Mimi/Suzel to work with!  We confess to being a bit star-struck by this splendid soprano and have preferred her Mozart characters to many others'. 

Her "Summertime" from Gershwin's Porgy and Bess showed off her gleaming upper register and the portamenti were absolutely stunning. But when she got to "Come scoglio" from Mozart's Cosi fan tutte we realized once again how this artist comes across best when there is a dramatic situation to illuminate. Not only was she astonishing in the wide leaps of this challenging aria, but she put her technique in the service of her character Fiordiligi.  This seems a bit trivial but every time she rolled an "r" we got a little thrill. Never too little or too much but just right for the character's personality.

With entirely different colors she performed "Song to the Moon" from Dvorak's Rusalka. Although we don't understand Czech (and we'd love to ask Mr. Nekoranec how it sounded to him) we could appreciate the way the music and the lyrics matched so well. The beauty of her singing and the intensity of her dramatic expression brought tears to our eyes as we considered the unhappy end that comes to those who try to be what they are not.

Ms. Phillips had some outstanding duets with mezzo-soprano Elizabeth DeShong who debuted at the Metropolitan Opera the same year (2008) as Ms, Phillips. Ms. DeShong has a rich texture to her instrument that reminds us of a Guiness--dark, rich, smoky, with a creamy top!  From the Venice act of Offenbach's Les Contes d'Hoffmann, we heard "Belle nuit o nuit d'amour" and cherished the stunning harmonies and barcarolle-type rhythm.

The two voices were equally matched and effectively employed in "Serbami ognor si fido...Alle piu calde immagini" from Rossini's Semiramide. We have never seen this potboiler and are thrilled to learn that we will get our chance next season at The Met when Ms. DeShong will sing Arsace, a warrior who finds himself in an oedipal predicament. (Soprano Angela Meade will fill the title role).

Thankfully, Ms. DeShong will not be confined to trouser roles. Last night she excelled in roles made famous by legendary mezzo-sopranos making comparisons unnecessary. Her "Cruda sorte!", Isabella's aria from Rossini's L"Italiana in Algeri was nothing short of  powerful. The singer's skill with fioritura was employed in the service of the character.

Her versatility as an artist was manifest in "Mon coeur s'ouvre a ta voix" from Saint-Saens's Samson et Dalila. Not only was Samson seduced but so was the audience, yielding to Ms. DeShong's seductive coloring. She was impish in "Nacqui all'affanno e al pianto...Non piu mesta" from Rossini's La Cenerentola, making us wonder what kind of dramatic arc she might create in the entire opera.

Orsini's brindisi "Il segreto per esser felici" from Donizetti's Lucrezia Borgia was given a spirited performance; yet another aspect of her talent was revealed in "Sein wir wieder gut" the Composer's aria from Strauss' Ariadne auf Naxos.

The fireworks onstage far outweighed the discomfort of the sultry weather. It was a highly exciting evening both from the standpoint of relishing the performances of vocal superstars and from the standpoint of witnessing the versatility of an exciting new tenor. There will be five more recitals in this series; folks in every borough should get a chance to enjoy this gift from The Metropolitan Opera and the Department of Cultural Affairs.

Host for the evening was Mary Jo Heath and Dan Saunders provided the superb piano accompaniment.

(c) meche kroop