CARDONA DOES RIGOLETTO

The stellar cast of Verdi's Rigoletto produced by Martha Cardona Opera

Last night we had the great pleasure of witnessing yet another triumph of the Martha Cardona Opera. One never tires of Verdi's 1851 masterpiece Rigoletto, with libretto by Francesco Maria Piave, based on Victor Hugo's scandalous play Le roi s'amuse. In mid-19th c. Italy, it was quite a challenge to negotiate with the Austrian censors and many plot compromises were made. Thankfully there were no compromises made with the music and conductor Gregory Ortega led a crisp and insightful reading of the score, from the portentous opening to the lively party music.

Presenting opera in a semi-staged version is a challenge for the audience as well as for the singers. Audience members must mentally invent the setting and the costumes; singers are generally confined to a shallow playing area in front of the orchestra and may have difficulty balancing their vocal  volume with that of the orchestra. None of this seemed to be a problem last night. Minimal but effective direction was provided by Founder and Artistic Director Daniel Cardona.

The singers were undeniably first rate and of the caliber that delights audiences world wide. Highly impressive was baritone Jason Stearns as the eponymous Rigoletto. His acting was so powerful and convincing that his firm baritone seemed only to serve the various nuances of his character. Without any "help" from an artificial hump, he contorted his muscular body and adopted a limp that told us plainly that this poor man had experienced a lifetime of suffering and humiliation. His soliloquy was moving and his duets with Gilda were heartbreaking. This was a performance to be remembered.

Such characters often turn their anger at their bodies toward other people in their pathway and Rigoletto turns his anger onto the corteggani of his employer, the Duke of Mantua. As court jester, he mercilessly pokes, prods, and skewers these courtiers. Thus he incurs the wrath of the elderly Monterone who has come to court to protest the dishonoring of his daughter. Monterone curses him and this maledizione is tragically fulfilled at the end of the opera by the death of Rigoletto's beloved daughter Gilda, the only person toward whom he feels tenderness and love.

Last night's Gilda was played--no, inhabited, by the lovely soprano Yunnie Park, whom we well remember from Martina Arroyo's Prelude to Performance.  She has a scintillating sound marked by a liquid vibrato and great ease with the fioritura. The very picture of innocence, she is an easy mark for the licentious Duke who has been making eyes at her in church, the only place the lonely girl has been permitted to visit. Ms. Park sang the "Caro nome" with such feeling that she made us remember our first delirious crush.

As the Duke, tenor Galeano Salas, whom we greatly enjoyed in Santa Fe last summer, used his generous sound well and has grown considerably since winning an Opera Index award. His instrument is full-throated with a great deal of breadth to the sound and, happily, no pushing. His appearance is so sweet that we didn't sense any nastiness in his portrayal.  His Duke was more carefree than devious.

Bass-baritone Kian Freitas overcame his youth to effectively portray the aforementioned elderly courtier Monterone. He did this by coloring his fine voice with dignity mingled with outrage.  There are no small roles! He is a Martha Cardona regular and we are glad of it.

As Maddalena, mezzo-soprano Sarah Heltzel sang well and was believable as Sparafucile's seductive sister whose duty it is to set up the victims for her brother's assassinations. She too is taken in by the Duke's flattery and convinces her brother to betray his code of honor as an assassin.

Another mezzo-soprano Meghan Sands did well with the small role of the Countess Ceprano who has captured the Duke's attention. Jeffrey Perez was fine as her husband. As Giovanna, mezzo-soprano Fiorella Velez sang well but did not create a distinctive character.

Our one disappointment was with bass Matthew Anchel who sang well but was dramatically hampered by being "on the book". There must be a story behind this which we do not know.  Tenor Eamon Pereyra sang the role of Borsa;  baritone Lane Johnson made a fine Marullo.  Patricia Vital sang the role of the Page and the other courtiers were sung by Ray Calderon, Lindell Carter, Tim DiFiore, and Robert Pagnani.

The titles were reasonably well translated but unfortunately not always coincident with what was being sung.  At times they fell behind and at other times rushed ahead.  This was our sole quibble with an outstanding performance.

It is an extraordinary pleasure to hear opera up close and personal. Merkin Hall is a fine venue for this purpose. 

(c) meche kroop

L'ELISIR D'AMORE

Yunnie Park and James Knight (photo by Jen Joyce Davis)

We must have drunk the love potion ourselves, having fallen completely in love with the Prelude to Performance production of L'Elisir d'Amore.  This is arguably (or inarguably) Donizetti's most famous opera and a wonderful "beginner's opera".  Number 12 on the list of most frequently performed operas, Donizetti is said to have composed it in an astonishing month's time!  Felice Romani wrote the charming libretto, based on Le Philtre, a play by Eugene Scribe . Significantly, Donizetti himself escaped serving in the Austrian military when a wealthy woman purchased his military service.  (Recall that before Il Risorgimento, large parts of Italy were ruled by the Austrians.)   The opera premiered in Milan in 1832 and seems never to have left the repertory.

The story is a straightforward one.  Nemorino is a simple fellow in love with Adina, an educated landowner.  His opening aria "Quanto è bella, quanto è cara!" illuminates his devotion to her.  It takes two acts to win her over and, when he does, his famous aria "Una furtiva lagrima" is unmatched in its expression of unbridled joy.  Mr. Knight's performance was emotional and included a stunning messa di voce. To make this simple story engaging, we in the audience need to care deeply for this shy and awkward everyman who dares to dream beyond his station in life.  And we need to believe that the rejecting Adina has enough wisdom and strength of character to recognize the value of his loyalty, devotion and honesty.

This the young artists conveyed brilliantly.  James Edgar Knight was a loveable simpleton, awkward and ingenuous.  (Appearing awkward onstage was a masterpiece of acting for the suave and handsome tenor.)  Coloratura soprano Yunnie Park created a spunky Adina and convinced us that she had a soft spot in her heart for Nemorino, one that she did a great job at hiding until his popularity with the local maidens  (predicated upon his receiving a huge inheritance) evoked her jealousy.  Often we do not recognize the value of what comes to us easily until we are threatened with its loss!  This she conveyed with brilliant bursts of fioritura, pinpoint in its accuracy and thrilling in its speed.

Figuring in the plot as well are two comic figures--the pompous Sargent Belcore stylishly sung by baritone Jorell Williams and the outlandish Doctor Dulcamara performed by an excellent bass Ignacio Gama.  Belcore is passing through town and falls for Adina and begs for her hand in marriage; she agrees to make Nemorino jealous.

Dr. Dulcamara is a traveling huckster/con man, peddling a worthless elixir designed to cure everyone's ills.  His aria "Udite o rustici" was persuasive and well performed.  Nemorino asks for his help in wooing Adina and is sold a bottle of wine which he is told will make him irresistible to women.  Too broke to pay for a second bottle, he sells himself to Belcore as a recruit.  The scene between him and Belcore was exceedingly well directed (Tara Faircloth directed the entire opera with a sure hand) with postures and gestures echoing one another while the dialog showed the differences in their character and goals.

Nemorino realizes that Adina loves him when he sees a tear in her eye and Adina realizes she loves him when she is made aware of his sacrifice (military duty).  She purchases his military contract so he can stay on the land he loves and presumably marry her.  We get the "happily ever after" and walk out with a big smile.

Willie Anthony Waters conducted in fine bel canto style.  Charles Caine designed the costumes in fine mid-19th c. style with the typical happy peasants in colorful attire.  But it is Dulcamara's costume that took the cake.  He was done up in bright pink and turquoise with outlandish medals and a giant feather in his cap.  And let's not forget the pink spats!  Noby Ishida led the chorus of village maidens and they added significantly to the production.  Maria Brea was delightful as Adina's friend Giannetta.

This is opera as it is meant to be--transporting us to another time and place by means of authenticity.  We have seen many many productions of this opera, even one set in the Wild West in the 50's with Dulcamara arriving in a Cadillac convertible and Adina being the owner of a diner.  It didn't work.  (Adina is the town lettrice in Act I.  The peasants who work her land are illiterate.  It's the 19th c.! )  Updating operas does NOT make them more relevant.  We speak out in favor of authenticity!  And now we step down from our soap box to tell you that the
opera will be presented again on Sunday at 2PM at Hunter College.  You will hear a different but equally wonderful cast singing Donizetti's gorgeous melodies.  You too will have partaken of the Elixir of Love.

© meche kroop