EMERGING ARTISTS FROM GLIMMERGLASS

Michael Sherman, Raquel González, and Michael Brandenburg

As part of Opera America's Emerging Artist Recital Series, The Glimmerglass Festival Young Artists Program presented three of their young artists who are moving on to starring roles in this summer's festival.  Raquel González will portray Mimi and Michael Brandenburg will play her Rodolfo. We would have enjoyed a duet from Puccini's La Bohéme and sat in our seats when the program ended waiting for an encore that never happened.

Please don't think that we were left unsatisfied!  On the contrary, it was a most fulfilling recital and we enjoyed hearing two substantial voices. Regular readers will recall how excited we get when we have witnessed a young artist's growth within the conservatory environment, particularly when they rise to greater heights after graduation.

Such was the case with this radiant soprano. Her lovely instrument has broadened and deepened without losing a drop of lustre or brilliance. She chose her own material and chose wisely.  One can usually tell when a singer loves the song. The trio of songs by Joaquín Turino are rarely heard and they are marvelous.

"Olas gigantes" gave collaborative pianist Michael Sherman an opportunity to create a storm in the piano and Ms. González conveyed the poet's desperation. Perhaps we are prejudiced but it seems to us that Juilliard graduates are exceptionally well trained in the art of textual interpretation and drama. Their gestures are always apt and motivated by the text.

"Tu pupila es azul" is a gentle song and Mr. Sherman's piano created gentle waves that matched the delicate coloring of the singer. We loved the typically Spanish turns in the vocal line. In "Besa el aura" we were dazzled by her control of the melismatic passages.

She also showed her skill with Russian, having chosen two delightful songs by Rimsky-Korsakov. In "The Nymph" the text speaks of a mystical being who does NOT kill the admiring sailor.  What a relief!  Not at all like the German "Lorelei".  Perhaps our favorite song of the evening was "Dream on a Summer's Night", a maiden's sexual awakening tenderly and passionately sung with beautiful arpeggios in the piano.

Tenor Michael Brandenburg, like Ms. González, has won many honors and prizes and has an instrument of considerable size. He sang three songs by Rachmaninoff, all repertory standards, with a great deal of muscle. "Spring Waters" seemed particularly apt after the torrential rains New York recently experienced! Our favorite is always "Oh, never sing to me again" which fills us with the pain of longing.

But we enjoyed his singing more in a set of songs by Joseph Marx, a composer we always enjoy.  We wonder why more singers do not choose his works for their recitals. Mr. Brandenburg's German is quite good and we particularly enjoyed "Selige Nacht" which gave the piano some interesting and gorgeous runs.

Both singers exhibited fine English diction and confirmed our opinion that Broadway music is far better in a recital than academic songs in English that tax our preference for beauty. Ms. González was lovely in Jerome Kern's "The Song is You" from the 1932 Music is in the Air, while Mr. Brandenburg was compelling in "Beloved" from Sigmund Romberg's The Student Prince.

We also got to hear the two singers in duets--"Suzel, bon di" from Mascagni's lesser known opera L'amico Fritz, which we would dearly love to see produced in its entirety.

A final duet "And this is my beloved", from the 1953 musical Kismet, was adapted from music by Alexander Borodin by Robert Wright and George Forrest. It was glorious and a fine way to end the recital.

The two voices blended beautifully in harmony and we predict that their Bohème this summer in Cooperstown will be a most worthwhile one.

(c) meche kroop

NEW YORK THEATER BALLET

Amanda Treiber and Steven Melendez (Photo by Yi Chun-Wu)

We are suckers for beauty whether it be aural or visual.  We always go for the "up close and personal" approach, as opposed to sitting in a huge theater far away from the action. Intimacy is what appeals to us.  And so it was that we found many delights in last night's performance by the estimable and long-enduring New York Theatre Ballet, founded by Artistic Director Diana Byer. They performed for the second year at New York Live Arts, a marvelous performing space in Chelsea. Seating is comfortable and sightlines are unobstructed. All the music was live!

The first half of the program thrilled us.  The curtain raiser Chemical Bond, choreographed by Milissa Payne Bradley of San Francisco, was set to music by Gabriel Fauré (Sérénade op. 98, Après un Rêve) performed beautifully by Michael Scales on piano and Amy Kang on cello. Ballerinas Amanda Treiber and Mayu Oguri were partnered by Joshua Andino-Nieto.

It is amazing how the limited vocabulary of positions and steps of classical ballet can be combined in countless ways. There was nothing radical in Ms. Bradley's choreography but it struck us as beautiful and satisfying. That we didn't want the piece to end testifies to its worth.

Ms. Treiber and Ms. Oguri projected an air of delicate femininity while Mr. Andino-Nieto danced and partnered with sureness and strength. Costume design by Sylvia Taalson Nolan was superb. The women's costumes were pale and short, the better to allow full appreciation of their extensions. Floaty patches fluttered as they moved and delighted the eye. Pointe work was lovely.

The second work, Such Longing was choreographed by Richard Alston and restaged by Martin Lawrence. One could not choose a better composer for ballet than Frédéric Chopin and Mr. Scales played the Mazurkas, Etudes and lone Nocturne  with style and variety. The choreography reflected so much about Chopin's nationalistic pride, touched by modesty and sorrowful moments.

The four dancers--Steven Melendez, Amanda Treiber, Michael Wells, and Elena Zahlmann--danced in various combinations, portraying Chopin's many moods just as Mr. Scales colored his piano playing. The lifts were particularly lovely. The costumes were in somber hue and the women's dresses longer than we would have wished. We like legs!

Jerome Robbins' Antique Epigraphs, as staged by Kyra Nichols, was set to two lovely Debussy pieces: Mira Magrill's flute gave voice to Syrinx at the beginning and the end while Michael Scales and Zheng Ma performed the four-handed Six Epigraphes Antiques.  Now how lovely was that!

The piece has achieved legendary status but appeared rather dated with Florence Klotz' floor-length costumes a bit shopworn and ill-fitting but in lovely muted hues. We could not keep from thinking about "Ode to a Grecian Urn", and there was one group scene that made us think of Ravels "Song of the Mastic Gatherers" from his Five Popular Greek Melodies.

The second half of the program left us in the dust. We have been avoiding modern dance for some time now because of the herky-jerky movements that we find just plain ugly. We don't like to see dancers in street clothes rolling around on the floor or running around the stage making meaningless gestures.  We are reminded of exercise classes at health clubs.

To see classically trained dancers in such a work displeases us.  We cannot say that Song Before Spring is bad, only that it is not at all our taste.  Zhong-Jing Fang and Steven Melendez choreographed the work which was set to music by Philip Glass and performed by NY STEEL-- a dozen enthusiastic percussionists playing steel drums, led by Josh Quillen. 

We did not grasp what the choreography was aiming for nor did we understand the interactions between the cast members. Occasionally there was a tender gesture but for the most part we saw a lot of meaningless gestures.

We prefer to forget all about it and joyfully remember the beauty of the first half of the program.  We are just so happy that chamber ballet exists at all!

(c) meche kroop

THE MASTERY OF WILL KELLEY

Will Kelley

It is incredibly rewarding to witness artistic growth and especially so when an artist you have been enjoying for some time is achieving a master's degree. We arrived at Juilliard last night rain-soaked and wind-blown but by the end of the recital our frown had turned upside down, a phenomenon that will be familiar to music lovers.

Mr. Kelley is an outstanding collaborative pianist, as we already knew.  But last night was an opportunity to hear him work with several different singers and a cellist heretofore unknown to us. He subtly adjusted his prodigious technique to suit each and every circumstance.

First on the program, he was joined by countertenor Jakub Jozef Orlinski and tenor Matthew Swensen for Benjamin Britten's Canticle II: "Abraham and Isaac" which we saw performed last year at Chelsea Opera. (Review archived). We are never fond of bible stories but this is one of the most immoral and despicable of all. In our opinion, true morality is doing what is right regardless of what one is told, whereas doing what you are told regardless of what is right is nothing more than obedience.

Personal distaste for the subject matter aside, the three artists performed magnificently with Mr. Swensen as the misguidedly obedient father and Mr. Orlinski portraying the heartbreakingly obedient and trusting child. Even with scores in hand they acted with body as well as voice; Mr. Kelley modulated his playing to fit every mood change. The harmonies of the final duet were strikingly accomplished.

The next work on the program was Francis Poulenc's Sonata for Cello and Piano. Mr. Kelley pointed out that both the Britten and the Poulenc were written contemporaneously in the post WWII period. This was an excellent opportunity to hear Mr. Kelley partner with another instrumentalist, a new experience for us. 

Julian Schwarz' playing was just as fine as Mr. Kelley's; the two seemed to have a superb partnership and both navigated the many moods evinced within the four movements. The first was light-hearted; the second was lyrically somber and marked by gorgeous glissandi and a peaceful conclusion; the third was downright frisky by way of staccati given a Gallic shrug; and the fourth exhibited tension, ponderousness, then a music hall type franticness. Whew!

The second half of the program brought us to more familiar territory. By this time we had decided that Mr. Kelley chose his partners well and mezzo-soprano Caitlin Redding was just the right singer for a quartet of early songs by Arnold Schoenberg and three selections from Cinq poèmes de Baudelaire set by Debussy.  

Among the Schoenberg songs we loved the evocative "Erwartung" and the sensual "Schenk mir deinen goldenen Kamm". It has taken many hearings for us to appreciate Schoenberg but the artistry of Ms. Redding and Mr. Kelley brought us farther along the path.

Among the Debussy selections, our favorite was "Le jet d'eau" in which Mr. Kelley's piano limned all the rippling and splashing of the fountain.  Indeed we decided that Debussy did for fountains what Beethoven did for moonlight.

The final part of the program comprised four selections from Sergei Rachmaninoff's Six Romances, Op. 38 for which soprano Christine Price was an excellent choice.

The more we listen the greater is our admiration for the art of Collaborative Piano. It is not enough to be an excellent pianist; there is so much involved in matching the other artist's tempi, coloring, and dynamics.  We'd say that Mr. Kelley has mastered the art!

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OPERA NEW YORK WITH SUSAN GRAHAM

Mezzo-soprano Susan Graham as Carmen

Once again The Metropolitan Room played host to Opera New York, which has been creating quite a sensation with their presentation of opera in a cabaret environment, one of the many avenues available to bring opera to a wider audience.

The brainchild of Artistic Director Judith Fredricks (who also directs the scenes), these evenings draw a wider audience every time they perform.  Last night's event "Where Opera and Cabaret Collide!" was part of The First International Cabaret Festival. That the audience was having a whale of a good time was made evident by the thunderous applause, whoops and hollers which followed each number, as well as by the rapt silence during the performances. Did we mention that it was "standing room only"?

The evening was made extra special by the presence of world renowned mezzo-soprano Susan Graham, fresh from her triumphs at Houston Grand Opera. Ms. Graham always uses her gifts well and amplifies them with her larger-than-life personality. Last night we heard the Habanera from Bizet's Carmen as we have never heard it before. Without sets or costumes Ms. Graham created the personality of this dangerous Spanish temptress from the center outward. When she sang the word "l'amour" she seemed to be not only tasting the vowel but savoring it.

The remainder of the program, emceed by Jason Graae, hewed closely to the prior programs with a stunning addition.  Soprano Veronica Loiacono performed "De España Venga" from Pablo Luna's zarzuela, El Niño Judio.  Readers may recall how beloved zarzuela is to us and to say we were thrilled would be an understatement.

Perhaps because it was a festival, perhaps due to the artists getting more comfortable with the cabaret setting, or perhaps because of the presence of Ms. Graham, everyone's performances seemed to be even sharper than ever before.

Tenor Edgar Jaramillo's "Federico's Lament" from Cilea's L'Arlesianna was even more heart-wrenching than before (with oboe accompaniment from Mr, Graae), as was tenor Percy Martinez' "Vesti la giubba" from Leoncavallo's Pagliacci. We felt feelings we had never felt before during prior hearings.

Soprano Elena Heimur was even more extravagant in "Musetta's Waltz" from Puccini's La Bohème and mezzo-soprano Jodi Karem was even more seductive as Maddalena in the quartet from Verdi's Rigoletto.

Baritone Roberto Borgatti swaggered magnificently and wandered the aisles of The Metropolitan Room impressing the ladies as he leaned into the "Toreador Song" from Carmen, with just the right amount of bullfighter arrogance.

Music Director Michael Pilafian handled the piano accompaniment to perfection.

It was a splendid evening and no one wanted it to end to make room for the late show. We are sure they will return for more on March 9th. There seems to be a growing demand for opera up close and personal, especially when performed so well.

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WINNERS ALL AT THE GEORGE LONDON COMPETITION

Nora London surrounded by a bunch of winners!

The George London Foundation has been generously awarding grants to young singers for 45 years now. Nora London has done a fantastic job of honoring the memory of her late husband.  Last Friday afternoon six eminent judges awarded $73,000. to the 23 finalists, culled from a field of 85 applicants.

The overall quality of the performances exceeded our expectations from prior years. We generally put a star on the program next to the name of the singers we like the best.  By the time we starred the first four singers we realized there was no point trying to second guess the judges. We are glad we were not called upon to put one performance above another.  For those readers for whom the amounts of the awards are of interest, we refer you to the press release...

http://www.wadacommunications.com/wp-content/uploads/2016/02/Winners-Announced-for-George-London-Foundation-45th-Annual-Awards-Competition-February-19-2016.pdf 

For our part, we prefer to share with readers our own impressions without regard to the level of the award. Our bias is toward singers who relate to the text and can communicate that to the audience. Having spoken to some of the singers we believe that the singer does best if he/she loves the song.  Each singer submits a list and then is told what the judges wish to hear.

So...here goes! Soprano Jacqueline Piccolino wowed us from the first second with her thrilling sound, a garlic-scented dramatic coloratura, an unusual fach to be sure.  She performed "Bel raggio lusinghier" from Rossini's Semiramide with marvelous flexibility in the cabaletta and a true diva's command of the stage.

This year there was no shortage of big voices. One can always count on soprano Marina Costa-Jackson for a fine performance and she showed her stuff with the heart-breaking "Morrò, ma prima in grazia" from Verdi's Un ballo in maschera.

Antonina Chehovska used her wonderful soprano for the challenging "Letter Scene" from Tchaikovsky's Eugene Onegin. She mined every phrase for dramatic meaning and conveyed all the passionate intensity of a young woman in the throes of first love.

Lighter sopranos were also in evidence and we loved Claudia Rosenthal's "Non monsieur mon mari" from Poulenc's Les mamelles de Tiresias. It was an unusual choice but it gave full access to her vibrant personality and acting skills.

Another lovely performance in French was that of mezzo-soprano Cecelia Hall who filled "Oh! La pitoyable aventure!" from Ravel's L'heure espagnole with plenty of humor.

Soprano Kirstin MacKinnon excelled in the "Jewel Song" from Gounod's Faust and used her bright instrument effectively, bringing the aria to a stunning climax. 

Mezzo-soprano Shabnam Kalbasi performed "Nacqui all'affano...Non più mesta" from Rossini's La Cenerentola with a lot of charm and evenness throughout the wide-ranging skips and jumps.

Considering the male singers, baritone Steven LaBrie performed "Pierrot's Tanzlied" from Korngold's Die Tote Stadt with a great deal of feeling and artistry to swoon over.

Bass Colin Ramsey was simply wonderful in "The Catalog Aria" from Mozart's Don Giovanni. We haven't heard him sing since his undergraduate days at Manhattan School of Music and were thrilled to hear how his voice has developed.

Speaking of developing voices, we detected something new and exciting in the baritone of John Viscardi who filled the room with glorious sound in "Avant de quitter ces lieux" from Gounod's Faust. He sang with an enviable legato and wisely modulated the dynamic intensity in accordance with the text.

Baritone Sean Michael Plumb used his rich voice and dramatic skills in "O Carlo ascolta...Io morro" from Verdi's Don Carlo.  It was most convincing.

Baritone David Pershall sang "Starbuck's Aria" from Heggie's Moby Dick with power and eloquence, sensitive to the character's moral dilemma.

Bass-baritone Michael Sumuel sang "Blick'ich umher" from Wagner's Tannhäuser and pleased us with his breadth of tone.  The dynamic variety was well achieved and there was some lovely delicacy in the pp passages.

Baritone Jared Bybee sang "Vision Fugitive" from Massenet's Herodiade with lovely alternation between intensity and delicacy.

Craig Rutenberg was the accompanist for the singers and one could not have wished for better. We particularly enjoyed his playing of Wagner and Tchaikovsky.

We have heard the future of opera and we are not worried.  Au contraire, there are plenty of superlative artists.  All we need are the companies to employ them!

(c) meche kroop

THE WOLF AT JUILLIARD'S DOOR

Jake Alan Nelson, Dror Baitel, Michal Biel, Katelan Terrell, Sora Jung, Adam Rothenberg, Sophia Kaminski, Kara Sainz, and Liv Redpath

The beautiful program of Wolf songs at Thursday's Liederabend at Juilliard required no lengthy academic introduction. Some folks get a lot out of context, but we prefer to let the music speak for itself. Hugo Wolf's songs are somewhat less accessible than those composed by Schubert but become more interesting with every hearing

The songs on the program were all settings of poetry by Eduard Mörike.  The five singers who performed them were topnotch, as were the five collaborative pianists. We were very impressed by baritone Jake Alan Nelson who is a natural born storyteller. There is a lot of breadth and resonance in his instrument but it is the personality and connection with the audience that got our attention.

In the opening lied, "Fussreise",  he took us for a walk in the countryside with a lot of enthusiasm.  In the quiet "Um Mitternacht" he colored his voice completely differently. He invested "Zur Warnung" with a full measure of bibulous humor. But his performance of "Der Feuerreiter" held us spellbound with its macabre horror. His Collaborative Pianist Dror Baitel followed each mood and color to perfection.

Tenor Seiyoung Kim (who missed the photo op) has a sweet instrument; his voice fell softly on the ear. He exhibited a lot of warmth in "Jägerlied" and "Heimweh" but we liked him best in the charmingly frisky "Der Gärtner".  Sora Jung was his fine CP.

Soprano Sophia Kaminski employs excellent phrasing and we enjoyed her best in "Der Knabe und das Immlein". We attribute this to the fact that she translated the song herself. There was no mistaking the enhanced connection with that particular text. Her excellent CP was Michal Biel.

Soprano Liv Redpath made a fine showing with the excited "Er ist's" but was even finer in "Das verlassene Mägdlein", a mini drama that always breaks our heart. She caught all the humor and double entendre of "Erstes Liebeslied eines Mädchens". In "An eine Äolsharfe", collaborative pianist Adam Rothenberg magically recreated the sound of a lute on his piano.

Mezzo-soprano Kara Sainz has a distinctive sound that she can open up like a capacious golf umbrella. We loved "An die Geliebte" and in "Nimmersatte Liebe" she sang as if she herself had written the text.  Katelan Terrell was her excellent CP.

As usual, we walked out on air, overjoyed to have heard such fine music-making. The evening was coached by Cameron Stowe.

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GENDER QUEER BAROQUE

Jacob Thoman, Alexander McKissick, Sean Lammer, Samantha Hankey, Jakub Józef Orliński (photo by Rosalie O'Connor)

The playing area was filled with nymphs and satyrs, gods and goddesses--strange figures to be sure; and yet their concerns are our concerns today.  The social media generation did not invent unfulfilled romantic longing, sexual dalliances overcoming chaste intentions, rejection, cross-dressing, lesbian love, romantic deception, nor vengeful wives. There was something particularly thrilling about seeing ourselves onstage in a work dating back nearly four centuries.  Not just thrilling but moving as well. Love and sex will always be with us until the robots take over!

A particularly fine cast at Juilliard brought Francesco Cavalli's 1651 opera to vivid life.  It is difficult to believe that this marvelous work lay dormant until 1970.  How fortunate we are that it was discovered and revived.  It lets us in on what the mid 17th c. Venetians expected from a rather new popular art form. Cavalli was there at the birth of opera.

Impresario/librettist Giovanni Faustini had created many operas with Cavalli; this one was their penultimate production. The story was derived from Ovid's Metamorphosis and recounts the story of Jove pretending to be the goddess Diana in order to seduce the beautiful chaste Calisto. The tale is padded out with the love story between the real Diana and the shepherd Endimione. In every case, chastity falls under the weight of sexual desire. 

Let us describe a few of the vocal and dramatic treasures in the production, which was directed and choreographed by the wildly talented polymath Zack Winokur. The wily Mercurio (fine tenor Michael St. Peter) convinces Giove (authoritative baritone Xiaomeng Zhang) that persuasion is no match for deception when trying to seduce a woman. Their duet was musically gorgeous and also quite humorous. 

In the title role, the beautiful soprano Angela Vallone impressed with the grace of her movement and the beautiful tonal quality of her voice as she sang about wanting to lead a chaste life, devoted to the goddess Diana. In a clever bit of stage business, Giove transforms himself into Diana and the exceptional mezzo-soprano Samantha Hankey completely convinced us by means of vocal coloring and masculinized body movement. The two women had a tender duet before entering a cave to exchange chaste kisses (which led to much more).

When the real Diana appears her voice and gestures are very different and there is no doubt that she is the real thing. When Calisto refers to their makeout session, Diana is outraged by the inference and tosses Calisto out of the virginal sisterhood. 

Diana, on her part, is secretly in love with the shepherd Endimione who expresses his longing for her in the most exquisite aria. Countertenor Jakub Józef Orliński was the perfect choice for this role, appearing innocent and singing with the sweetest sound.

Comic relief was provided by three nymphs of the sisterhood--all portrayed by men in a delightful gender bending bit of casting. Two of the nymphs (Sean Lammer and Jacob Thoman) were borrowed from Juilliard Dance, as was Nicholas Jurica and Evan Rapaport who, with Mr. Lammer, comprised the three Furies from hell. But oh, that third nymph! We always knew that tenor Alexander McKissick had comedic talents, but here he rose to new heights as Linfea, one of the sisterhood who would very much like to give up her virginity.

In spite of her desperation, there is no way Linfea is going to settle for the importuning of Satirino (the fine mezzo-soprano Caitlin Redding, sporting goat horns and hooves).  He is a member of the clutch of satyrs, of which the leader is the god Pane, marvelously portrayed by tenor Matthew Swensen. As Silvano, one of the satyrs, bass-baritone Cody Quattlebaum turned in a fine and physical performance. One of the funniest scenes was the one in which the nymphs win a battle with the satyrs.

Act II brought on new delights as Giunone, the jealous wife of Giove, appears with her furies bearing her aloft under her huge golden skirt, in a stunning bit of stage business. Soprano Julia Wolcott gave her all to the revenge aria in which she instructs women not to put up with philandering husbands but rather to take revenge.  Her particular revenge is to transform Calisto into a bear.

The singing was so fine all around that we could not have imagined better casting. Surely it helped that Cavalli wrote such singable music. As far as the orchestra goes, it was a small chamber orchestra, such as it was in its own time. Juilliard415 is the school's principal period-instrument ensemble and they did full justice to Cavalli's writing, conducted by the renowned Stephen Stubbs. There were theorbos and lutes, guitars and violins, cello, bass, harpsichord and some percussion used for dramatic effect. The bass stood out, playing with force and providing emphasis.

The costumes by Austin Scarlett were stunning. The nymphs wore soft graceful gowns; the satyrs really did appear goatlike; Giove was regal, Giunone was imposing in her golden gown, and Mercurio had appropriate wings on his head and feet.

Scenic design by Charlap Hyman & Herrero comprised backdrops painted like woodlands with a few screens for characters to hide behind when spying on one another. Misha Kahn's golden chandelier and sconces looked just right. Marcus Doshi's lighting design was effective.

The overall result was an evening that was not only entertaining but thought-provoking. We wondered why human nature has not evolved in four centuries! We can only imagine what this opera looked like in Venice in 1650 but we can be fairly certain that the librettist put onstage dilemmas that were familiar to his audience.

Our feeling of connection with the 17th c. left us feeling very joyful;  a time and place that, while very distant, was made to seem so familiar.

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