OPERATIC TEASE AT DUANE PARK

The Sexy Sopranos of The Operatic Tease at Duane Park

We cop to being a serial attendee at the monthly show called Operatic Tease at Duane Park. Our ears are tickled by the superb performances of our favorite arias. Our eyes are widened by the spectacular display of twirling tassels and daring gymnastics. Our taste buds are awakened by the delicious flavors of hand-crafted cocktails and the kind of food one doesn't expect in a nightclub. Duane Park on the Bowery, dear readers, is an amazing place--reeking in elegance with nary a whiff of tawdriness. Who'd a thunk it?  Opera and burlesque. 

That the singers happen to be talented ecdysiasts as well is just icing on the operatic cake. If one closed one's eyes, one would be experiencing a splendid sampling of arias at a recital; but if one did so one would be depriving oneself of some entrancing eye candy as these ladies are experts in both areas. Moreover, one of them, Marcy Richardson, aka Operagaga, is an amazing aerialist who performed some wild contortions within a large steel ring, of which we failed to get a good photo.

We love to see unusual productions in interesting venues because they serve a somewhat younger audience and also introduce people who are not regular opera goers to an art form to which we are addicted.  Let us hope that some of them get bitten by the bug.

To "set the stage" let us describe the venue and the menu, which are all part of the experience. Duane Park is situated on The Bowery, just north of Houston Street; the hidden entrance gives one the feeling of entering a speakeasy during Prohibition. Once inside, one is greeted by Jonathan, who is an excellent host, making every attempt to get parties comfortably seated. One looks around at the opulent decor and is reassured that there is nothing "cheap" about this venue. All preconceived notions of "strip-joints" evaporate in this refined air.

The menu offers choices for everyone and we were astonished at how fine the food was. We enjoyed some unusual handcrafted cocktails and some delicious shrimp and grits that made us feel as if we were in Charleston or N'awlins. Our companions raved about the merguez. Kudos to Executive Chef Richard Overholt. Our server Braz was attentive and didn't miss a beat.

And neither did accompanist Seth Weinstein who showed off les girls to good advantage. We would like to show off les girls as well and if you did not arrive at this website through a link on Facebook, we refer you to our FB page "Voce di Meche" because a picture is worth a thousand words.  A word of warning-- it's not for the kiddies because we photographed a lot of tits and ass!

But we write about singing and isn't that what y'all want to hear about?  Our Mistress of Ceremonies for the evening was the lovely actress Laura Murphy who assumed the character of Harlow Wigglesworth and introduced each artist with a wiggle and a wink and a chorus girl accent--a fine piece of acting. That her parents were in the audience reassured us that this would be "family entertainment". Well, maybe not exactly!

The program opened with Kasey Cardin, aka Dixie De Light, who gave a special sparkle to "Je veux vivre", Juliet's waltz from the Gounod opera. The French was fine as was the phrasing and, yes, the undressing was fine too. Later on, Ms. Cardin gave a special not-so-innocent interpretation of "O, mio babbino caro" from Puccini's Gianni Schicchi with Italian as fine as the French.

Gounod made a further appearance in "Que fait-tu, blanche tourterelle", Stefano's aria in which he teases the Capulets, performed by mezzo-soprano Rachel O'Malley, aka Ladybird Finch, who did plenty of teasing herself. She showed her humorous side in "What a Movie" from Bernstein's Trouble in Tahiti, in honor of the Bernstein centennial.

Soprano Francesca Caviglia, aka Trixie La Feé, appeared in a Cleopatra costume, which she shed whilst performing "V'adoro pupille" from Händel's Giulio Cesare. Her baroque style was impeccable. She also did a fine job with "I'm a stranger here myself" from One Touch of Venus by Kurt Weill and Ogden Nash, shedding her white tie and tails in fine sophisticated style.

We were a little worried that Trixie would not perform with her feathered fans, an act we have seen before; we needn't have been concerned because she appeared later in the program with a dazzling display that took our breath away. Whilst Ms. O'Malley sang "L'invitation au voyage" by Henri Duparc, Ms. Caviglia gave a perfect illustration of the text "Luxe, calme, et volupté" that exceeded the Matisse painting and Baudelaire's poetry.

There is a male member of the troupe and his name is Brad Lassiter, aka Lance-a-lot. He gave a fine musically valid performance of "C'est moi" from Lerner and Loewe's Camelot, stripping down to some gilded skivvies, with some female assistance. His Belcore was even better, as he sang, "Come Paride vezzoso" from Donizetti's L'elisir d'amore.

Marcy Richardson, aka Operagaga, gave a fine performance of the Jewel Song "Ah, je ris" from Gounod's Faust with a sparkling soprano and equally sparkling pasties. We found no fault in her fine French.

We know from witnessing countless master classes and our own voice lessons just how difficult it is to master an aria--the language, the breaths, the phrasing, the skips, the legato, the fioritura, etc.  Now, just imagine accomplishing all that while shedding your clothes in an artistic manner!  Now imagine doing that while performing difficult gymnastic maneuvers and you will get some idea of what we witnessed as Ms. Richardson sang "Lascia ch'io pianga" from Händel's Rinaldo!  What a feat!

We hope you all know the rousing "Champagne Aria" sung by Prince Orlofsky in Die Fledermaus by Johann Strauss II.  Now imagine it sung by the entire cast in their closing number, toasting the audience and vice versa.  Now you know just how much fun we had last night at Duane Park.

We understand there is another show on August 21st and are feeling very sorry that we will not be able to attend due to a prior commitment. But, dear reader, we urge YOU to attend and to tell us all about it. We fear that if we make an open call for a guest reviewer we will be swamped with offers!

(c) meche kroop

WE GOT A KICK FROM CHAMPAGNE

Gary Slavin, Matt Hughes, Alexis Cregger, David Macaluso, Leslie Middlebrook, and Claire Kuttler

The bubbles in the champagne matched well with the effervescent performances onstage last night at The Players, when Light Opera of New York (known as LOONY) presented an evening of operetta and cabaret songs called "Drink! Drink! Drink".  We sipped some bubbly but we gulped down the deliriously delicious entertainment.

Good music doesn't have to be "serious" and we enjoyed the humorous songs as much as the torch songs.  All the voices were top notch and there was no amplification to assault our tender ears.

Most of the songs were about drinking or sung by characters who were "in their cups". The wisely chosen hostess was Leslie Middlebrook appearing as Count Orlofsky from Johann Strauss' Die Fledermaus, singing "Chacun à son goût" in a clever English translation.  It was a fine concept and well executed by this excellent performer.

The most operatic number on the program was "Libiamo" from Verdi's La Traviata, perfectly performed by Alexis Cregger and Matt Hughes.

The most philosophical number was a very heartfelt "If Love Were All" by Noel Coward, performed with depth by Claire Kuttler who also sang Strayhorn's "Lush Life", a tale of profound disappointment. The songs fit her voice and stage presence to a T.

The liveliest number was Strauss' "Czardas" performed with Hungarian style by Ms. Cregger. The most bibulous was her performance of "Ah, quel diner je vais de faire" from Jacques Offenbach's "La Périchole". She was hilarious and we understood every word of her intoxicated French.

The most humorous songs landed on Gary Slavin's broad shoulders. We loved the sardonic "Mrs. Lowsborough-Goodby" by Cole Porter and also his performance of Buffett's "Margaritaville" which had the audience singing along, although not a shaker of salt was to be found on any table.  Mr. Slavin also staged the show, although the concept originated with Producer Carol Davis.

We recently saw (on HD video) the Metropolitan Opera's production of Lehar's "The Merry Widow". David Macaluso's performance of Danilo's aria "I'm going to Maxim's" far exceeded the one on video; he put so much personality into the song!

Matt Hughes managed a difficult task, performing a gender bending version of the ironic "You Can Always Count on Me" by Cy Coleman; it was funny just because he played it straight without fuss. The audience loved it and so did we!

Music Director Seth Weinstein accompanied all on the piano and did a swell job of it.

We always enjoy LOONY and eagerly await news of their upcoming season; it's their Tenth Anniversary!  YAY!!!!  More champagne please!

(c) meche kroop

TAKING IT OFF

The Hot Box Girls (plus one)

We just can't stay away from Opera Burlesque performed by The Hot Box Girls! The part of their performances that amazes us is that they can produce such exemplary singing while artistically disrobing. Singing alone requires attention to so many details--breathing, phrasing, diction, communication, dynamic control, etc.  Throw a little ecdysiastic action into the pot and one wonders how these lovely ladies can be so successful.

We have enjoyed their shows, at the opulent and intimate Duane Park on The Bowery, a number of times but this is the first time we got to hear Founder and Artistic Director Rebecca Greenstein, freshly arrived from Vienna, where she is enjoying a great artistic success.  She tells us that the Viennese have edgier taste than we New Yorkers do.  Here in the Big Apple, the material is largely confined to arias that we know and love.  Nothing wrong with that!  We are willing to bet that some members of the audience came for the T&A and left with a taste for opera.

Presenting opera in new ways, in new places, and directed toward a new audience, is all the rage these days. So, we sit on wooden bleachers drinking beer and we sit in elegant nightclubs drinking champagne. All for the sake of art.

The cast of Opera Burlesque changes from month to month.  Who knew there were so many opera singers with ecdysiastic talent! One favorite of ours is Trixie La Fée (née Francesca Caviglia) whom we have requested to never ever drop her act with the two huge red feathered fans. Her artistic manipulation of these props have interesting resonances as wings of a bird or a butterfly.

Not only that but she has a scintillating soprano which she showed off well in "V'adoro pupille" from Handel's Giulio Cesare; she has a commendable coloratura as well as a way with feathers.

New to us this time around was Ladybird Finch (née Rachel O'Malley) who was lovely in "Que fais-tu, blanche tourterelle?" from Gounod's Roméo et Juliette.

Dixie DeLight (née Kacey Cardin) is always a delight and we particularly enjoyed her "Ah! non credea mirarti" from Bellini's La Sonnambula. Regular readers will recall our affection for bel canto and Ms. Cardin did justice to this gorgeous aria.

Also on hand and well-remembered from prior performances was Sean D'Leer (née Melanie Long) who put a lot of pizazz into Rosina's aria "Una voce poco fa" from Rossini's Il Barbiere di Siviglia.

Ms. Greenstein herself, appearing as Jessica DoRight, worked the audience well as Musetta in "Quando m'en vo" from Puccini's La Bohème, strolling through the audience and teasing the men, just as Musetta would have done.

It occurred to us how well the selections were chosen in that they mostly all provided an excuse to flirt, entice, and seduce.

Even the lone male in the show, Lance-a-lot (née Brad Lassiter) was seductive as Escamillo in the "Toreador Song" from Bizet's Carmen and as Sergeant Belcore in "Come Paride vezzoso" from Donizetti's L'Elisir d'Amore.

Seth Weinstein as Count von Bang-it-out produced the always reliable piano accompaniment.

Allyson Webb (as Ally Cat) had a non-singing role as a French maid who assisted the singers in unlacing their corsets and picking up discarded garments. She put a lot of personality into the role.

The closing number, sung in English, was the bubbly "Champagne Chorus" from the beloved operetta Die Fledermaus by Johann Strauss, Jr.  We raise our glasses as well to toast new forms, new venues, new audiences,and new converts to opera.  PROSIT!

(c) meche kroop

DRINK! DRINK! DRINK!

Seth Weinstein, Gary Slavin, Alexis Cregger, Caitlin Burke, David Macaluso, and Matt Hughes

On a summer evening in the Big Apple, you might be sitting on a pier, crowded in with the sweaty masses having your ears assaulted by amplified noise--or you might be joining fellow lovers of the vocal arts at Opera America listening to gorgeous songs, sung unamplified by a bunch of talented artists, in an acoustically perfect air-conditioned hall. Readers can guess which we chose and we chose well!

In a departure from their customary presentation of full-length operettas, Light Opera of New York presented an alll-too-brief evening of songs from opera, operetta, and the popular genre of American songs. The songs were curated by Carol Davis and staged by Gary Slavin. At the piano was the fine accompanist Seth Weinstein.

Ms. Davis introduced the cabaret style evening by welcoming guests to "Bar Carol". But none of the songs were barcarolles. All the songs stayed with the theme of drinking. The singers wanted alcohol, drank it, enjoyed it or were drawn by it into sad memories.

The opening number, Sigmund Romberg's "Drink, Drink, Drink!", performed by the ensemble, set the tone for the evening, followed by "Libiamo" from Verdi's La Traviata, sung with verve by soprano Alexis Cregger and tenor Matt Hughes.

On of our favorite songs for the evening was Lehar's "I'm Going to Maxim's", sung by baritone David Macaluso with no end of rakish charm. Notable was the humor of the English translation and Mr. Macaluso's superb diction. Not a single clever rhyme was lost.

Sung in the original French and in high comedic style was Jacques Offenbach's "Ah! Quel dîner, je viens de faire", which had us grinning from ear to ear.  Ms. Cregger has a soaring soprano that was best appreciated in Johann Strauss' "Czardas".

The other soprano of the evening was Caitlin Burke whose sizable voice and darker dramatic timbre lent itself readily to torch songs. In Strayhorn's "Lush Life" she spun out the final note to a ppp in an impressive decrescendo. She also has a fine comic sense as heard in Arthur Sullivan's "Come bumpers".

Matt Hughes did a fine job with a Kingston Trio number called "Scotch and Soda", giving it a romantic inflection.  Gary Slavin filled the stage with Buffett's "Margaritaville", accompanying himself on the guitar. Later, he kept us laughing with Cole Porter's "Mrs. Lowsborough-Goodby", describing a nightmare weekend invitation.

The ensemble delighted us with another Porter tune "Well Did You Evah" a recitation of hilarious calamities and scandals. We enjoyed the evening thoroughly, especially since the point was made that a good song is a good song, no matter what the language or period. This idea was introduced to us at New York Festival of Song and we have cherished it ever since.

If you've never had a LOONY evening, keep them in mind for next season.

(c) meche kroop

OPERA WITH PASTIES

THE HOT BOX GIRLS (photo by Travis Chantar)

Could sex sell opera?  That was the question on our mind before attending last night's performance of L'Opera Burlesque at the intimate and glamorous venue of Duane Park. To put this to the test, we invited a gentleman friend who had never seen or heard an opera. 

A further question plagued us.  Would we, devoted operaphile, be distracted by the extra ingredient? Would nudity diminish the artistic impact?  You won't have to read to the end of the review to learn the answer.

Our friend wants to hear more opera and we enjoyed the show enormously. A woman can be talented as a singer and also skilled as an ecdysiast. We are never surprised by multi-talented people. One of our dearest friends is both ballet dancer and actress.

Had the voices been second rate we would have been rather judgmental but, truth to tell, each performer displayed superb vocal skills and lost nothing by shedding her clothes.  And what clothes!  

Thanks to splendid costuming by Angela Huff, these lovely ladies began each aria in period costume and ended in pasties and g-string. If one had closed one's eyes, one would have experienced an unamplified recital of favorite arias but one would have missed some visual delights. Not all young opera singers could pull this off but clearly these gals have multiple assets, no pun intended.

The most unforgettable performance was a fan dance performed by Trixie La Fée (Francesca Caviglia) who wielded red ostrich feathers in a gorgeously graceful manner during which mezzo-soprano Zara Zuela (Maria Elena Armijo) sang "Mon coeur s'ouvre à ta voix" from Samson et Dalila by Camille Saint-Saëns.

Ms. Caviglia showed her vocal chops most gloriously in "V'adoro pupille" from Händel's Giulio Cesare, leaving her slinky gown behind to wind up in nothing more than body jewelry.

Our favorite number by Dixie DeLight (Kacey Cardin) was "Ah! Non credea mirarti" from Vincenzo Bellini's bel canto masterpiece La Sonnambula in which our diva entered in a trancelike state, strewing rosepetals.

Sean D'Leer (Melanie Long) opened the program with the popular "Una voce poco fa" from Gioacchino Rossini's Il Barbiere di Siviglia. The elaborate wig came off along with the period costume.

The male roles were assumed by one Sir Lance-a-lot (Bradley Lassiter) who did justice to "O vin, dissipe la tristesse" from Ambroise Thomas' Hamlet, while stripping down to his skivvies.

For the grand finale, we heard the Champagne Chorus from Johann Straus II's Die Fledermaus in which the cast members circulated around the room toasting with audience members.  What fun!

Accompanying on the piano was Seth Weinstein, whose nom de scène was Count Von Bang-it-out. His versatility was impressive as he readily switched from classical mode to Broadway mode. Hostess for the evening was Cookie Cavendish (Charlotte Thun-Hoherstein).

If this description tempts you, you can learn more at www.lOperaBurlesque.com and www.HotBoxGirls.com.  We understand there are frequent performances at Duane Park and in Europe, often with a rotating cast of "hot girls" and a different selection of arias.

The concept is that of Rebecca Greenstein of Opera Moderne and we are so glad she has taken us out of our comfort zone.  The audience was young and we applaud any and all means of bringing young people to opera.  Bravissime tutte.

(c) meche kroop