NO GLORY

Jaely Chamberlain and Brett Pardue

Adam Cannedy and Margaret O'Connell

We spent a most pleasant evening aboard the Baylander IX-514 thanks to Opera Upper West;  Artistic Director Alexandra Fees sure knows how to create an event! The immersive event comprised a performance of Tom Cipullo's opera Glory Denied graced with a number of elements suggestive of what the Vietnamese call "The American War" and which we call "The Vietnam War".  It all depends on one's point of view. The event was part of New York Opera Fest, celebrating the diversity of indie opera in New York City.

The Baylander IX-514 is the only surviving aircraft carrier left over from the Vietnam War. It was used for helicopter landings and in the 80's was used to train pilots for that function. It has since been remodeled and repurposed.

The event included libations on deck which suggested the 1960's (does anyone remember the Mai Tai which we believe should also be restored to trendiness) with a background of 1960's music, and a tour of the ship from its port captain.

No one saw fit to dress in 1960's attire!

After the cocktail hour and tour of the ship we were ushered to a lower deck for the performance of the opera with Mr. Cipullo in attendance.

Glory Denied is based upon an oral history published by Tom Philpott concerning Colonel Floyd "Jim" Thompson who was a Major in the Special Forces when his plane was shot down in 1964. He was held by the Viet Cong for 9 years, 5 of which were in complete isolation. He endured unthinkable torture and interrogation. He survived by living "one day at a time" with the help of his religious faith.  Onstage was a tiny area which marked out the claustrophobic area in which he was confined.

Because of his wife Alyce's refusal to release his name, another man was honored as the longest held captive.

His wife established a relationship with an army sergeant who joined her in raising the four children, one of which was born while Thompson was in captivity. She told the children that their father was dead. We guess we could all agree that the poor guy got a raw deal!

It was helpful to read something about the story in advance because there were no titles and singing in English is always hit or miss as far as comprehension is concerned. The one aria that was quite clear was that sung by baritone Adam Cannedy in which the phrases were short and punchy--"tune in, turn on, drop out". This aria expressed his sense of dislocation upon returning to an America that he didn't recognize.  This was, for us, the most affecting part of the opera, reminding us of the Rip van Winkle story.  Nowadays, we wake up to a new world every day!

The English language is choppy in rhythm; setting long declamatory lines containing a lot of information leads to incomprehensibility and vocal lines that are neither interesting nor memorable. So, although we enjoyed the singing and the staging, this is not an opera we'd care to hear again.  Our major "test" for opera is, firstly, is it tuneful, and secondly, do we want to hear it again. Sadly, we rarely encounter a contemporary opera that passes both tests!

The libretto was taken directly from interviews and from letters involving both Jim and Alyce. In the opera, the younger Jim was sung by tenor Brett Pardue with soprano Jaely Chamberlain singing his young wife Alyce. The older Jim was sung by Mr. Cannedy with soprano Margaret O'Connell performing the role of the older Alyce. Various scenes permitted interaction between all four characters, an interesting premise. All four voices were excellent and the acting served the story well.

Alexandra Fees made a fine director, drawing upon her own resources as a singer.  (We have noticed how many times we admire the direction of an opera and then learn that the director has a background as a singer.)

Mr. Cipullo's angular score was well played by pianist Ishmael Wallace with Phil Rashkin conducting. There were missed opportunities for lyricism.

We had a fine evening of immersive theater. We just did not care for the music. We thought the story would have made an excellent play but it did not ask to be set to music!

(c) meche kroop

MIRROR VISIONS ENSEMBLE--25 YEARS AND GOING STRONG

Alan Darling, Scott Murphree, Justine Aronson, and Jesse Blumberg

What's a writer to do when some of her favorite singers are performing a type of music she does not appreciate? What this writer does is to go, to listen, and to hope to find a composer whose music in the unappreciated genre might strike her fancy, thereby expanding her horizons.  And that was exactly what happened when we heard songs by Alexander Liebermann.

Last night at the Sheen Center, Mirror Visions Ensemble celebrated their 25th Anniversary and their quartet of fine singers, comprising soprano Vira Slywotzky, tenor Scott Murphree, baritone Jesse Blumberg, and baritone Mischa Bouvier, were joined by guest artist Justine Aronson, whom we hardly ever get to hear. With a group of singers like this, we were sure to hear some music we'd like in this mostly modern program.  And we did!

The opening song "Invitation to Love" was  Aaron Grad's highly original setting of a text by Paul Laurence Dunbar, the son of emancipated slaves who was the first Afro-American poet to achieve international recognition and distinction. He wrote over a century ago and lived only 33 years. The text used by Mr. Grad rhymed and scanned, providing fertile material for Mr. Grad's unusual writing in which soprano, tenor, and baritone were given tuneful melodies, interesting harmonies, and overlapping voices. So few composers know how to choose text and how to make good use of the English language. We can honestly say that we were delighted by this work which won MVE's Young Composers Competition.

What MVE is best known for is presenting a text that was set by more than one composer. We can think of so many such works that inspired composers of the 19th c. (our favorite period). We always love Brahm's peaceful "Feldeinsamkeit" and thought Mr. Blumberg captured the tranquil mood of Hermann Allmers' text, especially the melismatic singing on the word "umwoben" (woven). We never knew that Charles Ives set the same text and it was also quite lovely, as sung by Mr. Murphree.

Both Paul Hindemith and Benjamin Britten set Thomas Moore's text  "How Sweet the Answer Echo Makes".  Ms. Slywotzky sang the Britten beautifully and Mr. Bouvier did justice to the Hindemith.

The other mirror image on the program comprised two settings of a Paul Verlaine text--"L'echelonnement des haies". Mr. Bouvier sang the setting by Debussy and Ms. Slywotzky performed the setting by Poldowska, a female composer whose style seemed very much influenced by that of Debussy. Poldowska was the pen name of a musically gifted woman who led an entirely too colorful life to be described here. Margaret Kampmeier's piano and both singers conveyed the gentle lilting music. Clearly, Verlaine's evocative text dictated the music.

And that is what we find unenjoyable about contemporary setting of English poetry.  The poetry sounds more like prose! We miss the lilt.  We miss the melody.

The second half of the program was devoted entirely to a commission given to Tom Cipullo entitled A Visit with Emily. This was an elaborate work in many parts, mostly consisting of settings of Emily Dickinson's letters to T. W. Higginson and his letters about Ms. Dickinson to his wife. No doubt this is an "important" work but our pleasure came more from the singers than the songs. 

Ms. Aronson has the most exciting timbre in her voice and a vibrato that strikes our ears just right. The opening song quotes Ms. Dickinson's description of her definition of poetry as that which makes her whole body cold and makes her feel as if the top of her head were taken off.  We cannot say that we have ever felt that way from poetry! But music we like will give us goosebumps!

One of the more interesting parts of this cycle was Mr. Blumberg, Mr. Murphree, and Ms. Aronson singing three different poems about fame simultaneously in "Quodlibet I". Another part that we liked had the three of them singing a "Catch" which was brief and pithy--"Women talk: men are silent: that is why I dread women." The humor came from the fact that the men had all the lines with Ms. Aronson making wry faces. The English language lends itself well to humor!

"Passacaglia" was a pithy duet with elaborate variations poking fun at the hypocrisy of people saying they will come again some time.  (Kind of like "Why don't we have lunch some time?" in modern parlance.)

We also found something to appreciate in #17 and #18 when Mr. Blumberg and Mr. Murphree sang simultaneous arias about Wonder, Suspense, and Forgetting.

(c) meche kroop