ALCINA ADDICTED

Ginny Weant, Anna Slate, Zen Wu, Melanie Ashkar, Chloe Schaaf, Eric Alexieff, Kevin Miller, and members of the Chorus

OperaRox is a company that is new on our radar screen but has achieved a major success in a very short period of time. The black box theater on MacDougal Street was completely sold out last night, seats occupied by a mostly very young and very appreciative audience. The hallway was filled with folks clamoring to get seats but there were none. You are hereby advised to show up early for Sunday's matinee performance wait list, or to attend the covers' performance.

OperaRox, like many other small companies springing up around NYC these days, has a mission that is a win-win all around. Young artists get the opportunity to learn a role that will serve them well when seeking work in the future, and audiences get to hear a fresh take for a modest ticket price.

Director Maayan Voss de Bettancourt has credited Jennifer Choi for a highly original concept which gave us this fresh take on Handel's Alcina, an opera we get to hear about once a year. The opera was Handel's first production for the London stage and premiered in 1735, and then lay dormant for two centuries! The story is based on an episode from Ariosto's 16th c. epic poem Orlando Furioso.

It concerns the knight Ruggiero who has fallen under the spell of the beautiful and seductive sorceress Alcina who turns men into animals and rocks when she tires of them. His fiancee Bradamante who, in the Ariosto poem is always rescuing her fiance from some peril or other, has come to the magic island with Melisso, Ruggiero's former tutor, disguised as her brother Ricciardo. The pair must break Alcina's spell. Of course, they succeed.  But not before a lot of deception, betrayal, and some gender bending fun, as Alcina's sister Morgana falls in lust with "Ricciardo".

The unique concept devised by Ms. Choi was to present Alcina's power as a metaphor for addiction. The inhabitants of the island seem to be heavy into alcohol and prescription pharmaceuticals. Bradamante and Melisso have an antidote on hand to destroy Ruggiero's benighted state and restore him to the brave and loyal knight they know him to be. Of course, he has to go through some withdrawal symptoms first! Once the illusions are destroyed, the island's denizens are restored to humanity and Alcina's power is destroyed.

The concept worked well, thanks to some fine acting on the part of the young artists. The dramatic success was equalled by the fine musical values.  Music director Dmitry Glivinskiy employed an orchestration devised by himself, Friedrich Chrysander, and Producer Kim Feltkamp. He himself played the keyboard with Katie von Braun on violin and Spencer Shen contributing some fine work on the cello.

Ultimately, of course, the success of an opera rests upon the shoulders of the singers and we found much to like in the performances. As the eponymous Alcina, soprano Zen Wu let out all the stops in a fiery and convincing performance. We got to see her seductive side in several arias and a very angry side in the cabaletta "Io sono regina". The role calls for vocal fireworks and we surely got them.

An interesting feature of the opera is that a pair of lovers comprises two mezzo-sopranos and, in a casting coup, we heard two very different voices in that fach. The role of Ruggiero is a trouser role and was beautifully and lyrically sung by Chloe Schaaf who impressed us with "Verdi prati", arguably the most famous aria of this opera.

Interestingly, it was Melanie Ashkar playing Bradamante who had the weightier mezzo, perhaps signifying that she is the stronger member of the couple. We loved the rich texture of her voice and also her acting as she tried to deal with the seductiveness of the lustful Morgana. We liked her anger when her fiance failed to recognize her.

As Morgana, Anna Slate turned in a fine sexy performance and performed "Credete al mio dolore" with great humility as she tries to win back Oronte whom she threw over for the cross-dressed Bradamante.

The role of Oronte was well sung by Eric Alexieff who has the sweet kind of tenor that we love to hear.

The wise tutor Melisso was sung by bass Kevin Miller.

We particularly enjoyed the sweet soprano of Ginny Weant who portrayed Oberto, a youth trying to get Alcina to release her beloved father from his captivity.

Handel even managed to write a trio for Ruggiero, Bradamante, and Alcina in which the three voice blended beautifully.

Costuming was simple but apropos. There were no sets to speak of but the stage was littered with bottles of booze and pill bottles. Lighting was subtly effective. Titles were accurate and peppered with colloquialisms.

Although the run is sold out, we understand that Sunday evening will offer a performance by the covers. We do hope that some of you can get squeezed in by arriving early for the waitlist. We'd consider it worth your while.

(c) meche kroop

THE OTHER CINDERELLA

Zen Wu, Melissa Serlluco, Ryan Slone, Jeff Goble, Caroline Tye, Alison Cheeseman, and Hayden DeWitt

When thinking about operatic versions of Cinderella, most people think of Rossini's La Cenerentola. But Massenet's 1899 opera Cendrillon offers many delights, including a luscious score with many fine arias and ensembles and a libretto (by Henri Caïn) that hews more closely to the original Perrault story which was already two centuries old. It can be taken as a tale of a highly dysfunctional family.

Papa Pandolfe (warmly portrayed by Jeff Goble) has taken as his second wife the harridan Madame de la Haltière (the over-the-top Caroline Tye) who has brought with her two spoiled daughters Noémie (Zen Wu) and Dorothée (Melissa Serluco). Pandolfe's daughter Lucette (Alison Cheeseman) is adored by her father, who feels guilty for neglecting her, and barely tolerated by her step-family.  This feels so relevant today when "blended families" are quite common.

William Remmers' Utopia Opera operates under a rather unique concept. Audience members vote online for the operas they want to hear the following season. We are consistently amazed by how Maestro Remmers rises to every challenge and comes up with a solution to the problem of combining entertainment and professionalism on a miniscule budget.

Although we always enjoy ourselves and admire the creativity, last night we were wildly impressed by the superlative performances of every performer and the innovative direction of Mr. Remmers who truly knows how to tell a story and to tell it well. We were engrossed and enchanted.

Although there is no scenery and barely any props, the story is told and told well. Costumes are of the "let's put on a show" variety. We imagine cast members rummaging through closets and coming up with something to express the characters they are portraying.  Most original of all was the black tie,  top hat , white silk scarf, and cigarette holder of The Fairy Godmother. The description sounds odd but, trust us, it worked incredibly well. Her fairy spirits dressed completely in white.

Lucette appears first in dowdy clothes of nondescript color and later in a shimmery garment with sparkly shoes. The henpecked Pandolfe wears a velvet jacket. Member of Lucette's step-family wear lavish ball gowns.

We first saw Cendrillon at the Santa Fe Opera ten years ago in a beautiful Laurent Pelly production with Joyce Di Donato in the title role-- and again two year ago at Juilliard with Julia Bullock. We were delighted both times but there was something about the intimacy of the Utopia Opera production that will stay in our mind.

There are a number of unforgettable scenes that one is not likely to forget!  You must see for yourself.

Massenet's music is deliciously romantic; Remmers' 19-member orchestra did the score justice once Mr. Remmers' baton brought them all together and achieved balance between the strings and the winds. We were particularly taken by the English horn solos of Zachary Rosalinsky which accompanied the love duets. The love duet between Pandolfe and Lucette was just as fine as that between her and Prince Charming.

Ms. Cheeseman made a winsome Lucette, one we could care about. We could feel compassion for Mr. Goble's Pandolfe who just made a bad marital decision. We could laugh at the domineering step-mother and the ridiculously entitled and sulky step-sisters. But we were most enthralled by the otherwordly magic of Angela Dinkelman's Fairy Godmother whose costume played so strongly against our expectations. Massenet gave her the best music and she didn't let him down!

Even the chorus was well-rehearsed. The fine direction led to camera-perfect stage pictures such that we have spent hours editing down the multiplicity of shots. And we must mention the fine French diction that was totally understandable.  Our companion told us that the titles were down for a period and we never noticed!

If you have been tempted to share our joy by attending, you will find the Lang Recital Hall at Hunter College to have superb sight lines and you will be amazed at the ridiculously low ticket prices. This same cast will perform next Saturday night, with a (likely just as fine) second cast performing tonight and next Friday night. You won't be disappointed!

(c) meche kroop