Showing some love for Lindemann

In light of the glut of overcooked “concept operas” these days, it can be an extraordinary treat to hear opera scenes in which the gifts of the performers-- vocal, dramatic and pianistic, combine to give us the essence of what the composer and librettist intended. Such was the case on Sunday when the artists of the Lindemann Young Artist Development Program showed their stuff, without benefit of sets and costumes, and without the dubious benefit of videos and machines. The program was created in 1980 by James Levine with the mission of identifying and developing young talent in the world of opera--singers, coaches and pianists. Proof of their success is the vast number of graduates of the program who are dazzling audiences worldwide. The recent partnership between The Juilliard School and The Metropolitan Opera has only added luster to both programs.

Here was a golden opportunity to see and hear these young artists in a variety of roles as they hone their already remarkable craft. Tenor Paul Appleby showed his comic side as a very fine Ferrando, with baritone Evan Hughes as an equally fine Guglielmo and bass Ryan Speedo Green as the older and wiser Don Alfonso, with Mr. Wagorn accompanying on the harpsichord. Let it be noted that Mr. Wagorn has a special flair for Mozart, as he accompanied soprano Emalie Savoy as Fiordiigi, this time on the piano. Later, Mr. Appleby tackled the role of Tom Rakewell and won, with soprano Layla Claire’s Anne Truelove and mezzo Renee Tatum’s Baba the Turk competing for his attention and Natalia Katyukova offering piano support. Further along in the program he excelled as Benedict with gorgeous soprano Wallis Giunta as his Beatrice, accompanied by the versatile Bryan Wagorn on the piano.

Ms. Claire later did justice to the role of the inconsolable Dorinda in a scene from Handel’s “Orlando”, accompanied again by Mr. Wagorn. Ms. Tatum was glorious as Medoro and soprano Lei Xu, whose voice is as supple as her figure and as bright as a penny, sang the role of Angelica. The three voices were perfectly balanced as one enhanced the other. Ms. Xu also made a stunning Juliette and was totally convincing in her scene with Romeo in the Gounod. First year artist Mario Chang’s Romeo was excellent and we are looking forward to hearing him again.

Tenor Alexander Lewis exhibited true comic flair as Nemorino with baritone Luthando Qave an equally impressive Belcore, while Alexandra Naumenko accompanied with panache. Mr. Lewis was heard later as Count Almaviva with the adorable Elliott Madore as the mischievous Figaro, this time with Ms. Naumenko essaying both piano and harpsichord. Mr. Madore and Ms. Xu made superb musical sense of a scene from Debussy’s “Pelleas et Melisande”, an opera that had heretofore eluded me. Ms. Katyukova’s pianisme was perfect.

Baritone Evan Hughes also has a delightfully humorous side as seen in a scene from Rossini’s “L’Italiana in Algeri”. Ms. Tatum’s Isabella was memorable for its cleanly articulated coloratura. Bass Ryan Speedo Green, accompanied by Mr. Wagorn, was a powerful Blitch in his quest for divine forgiveness in Floyd’s “Susannah”.
The program came to a close with one of those tickling Rossini sextets “Fredda ed immobile” from “Il Barbierre di Siviglia” that sends the audience out humming this not unwelcome earworm. Ms. Giunta was captivating as Rosina; Mr. Lewis hilarious as the “drunken” Count; Mr. Qave a riot as Figaro pushing Mr. Green’s Bartolo around. This time, Ms. Katyukova did the pianistic honors while Mr. Wagorn put in an appearance as the arresting officer.

Scenes were directed by Stephen Wadsworth, Fabrizio Melano and Gina Lapinski. All the scenes were directed with style and substance and allowed each member of the program to shine. What a grand asset to the opera world is the Lindemann Program. Bravissimi tutti!

© meche kroop for The Opera Insider

A Gala Evening of Music, Food, and Drink

Among the many generosities of the Gerda Lissner Foundation--support for young singers and support for other organizations that support young singers--we must add the joyful holiday musicale. This year, introduced by Foundation President Stephen De Maio and hosted by Brian Kellow, author and features editor of Opera News Magazine, glamorous supertenor Jonas Kaufmann and fast-rising soprano Angela Meade were honored. Four young artists provided the entertainment for the enormous crowd of luminaries of the opera world-- past, present and future.

Mr. Kaufmann spoke briefly and engagingly about donating his award to his favorite charity which is involved in music education for the children of Munich. Then the enthusiastic audience was serenaded by mezzo Kathryn Leemhuis singing the “Seguidilla” from “Carmen”. Following this, baritone Liam Bonner gave us a very beautifully nuanced rendition of Yeletsky’s aria from “Pique Dame”; Tchaikovsky could not have been in better hands. Lots of “garlic” was dished up by tenor Leonardo Capalbo in “Ma se m’e Forza perderti” from “Un Ballo in Maschera ”; this is an exciting voice discovered a few years ago by Marilyn Horne and sounding better and better.

Bass-baritone Brandon Cedel did a fine job with “Aleko’s Cavatina” from Rachmaninoff’s seldom-heard “Aleko”. The program closed with Angela Meade singing “Io sono l’umile ancella” from “Adriana Lecouvreur”; it surpassed Georghiu’s performance recently at Carnegie Hall. This generously proportioned voice has a brilliant future. Piano accompaniment was provided by Jonathan Kelly, and for Ms. Meade, Arlene Shrut.
After all that food for the heart and soul, dinner seemed but an afterthought but gave the attendees many opportunities for socializing and sharing. Thank you to the Gerda Lissner Foundation!

© meche kroop for The Opera Insider

Michele, ma belle

So much culture, so little time! December 1st offered so many tempting musical events that I almost missed a most fulfilling recital by Montreal mezzo Michele Losier, seen and reviewed a few nights earlier as Siebel in “Faust”. I dithered over whether an entire evening of French chansons might be a bit effete. Not to worry, the evening was delightful and varied; my decision was a good one. Mlle. Losier is a gifted recitalist who surely merits many more such evenings; Brian Zeger was intensely supportive as her piano partner.

The first half of the program comprised 19th c. romantic songs. Mlle. Losier’s extensive operatic background served her well as each song was imbued with drama. Cesar Franck’s “Le mariage des roses” was charming and melodic, whereas George Bizet’s “Adieux de l’hotesse arabe” was complex and intense; the singer reveals all the emotions and strategies of a woman who doesn’t want a man to leave. Massenet’s “Elegie” had the additional pleasure of Meta Weiss’ cello echoing the melody of the singer. “Bizet’s “La Coccinelle” offered ample opportunity for humor which the audience especially enjoyed.

Comprising the second half of the program were some 20th c. songs by Ravel, Poulenc, Satie and Weill. Ravel’s “Chanson Madecasses” had Mlle. Losier joined by Ms. Weiss and also flutist Daniel James. In this case, the voice was melded into the texture of a quartet. The irony of the Satie songs and the Weill offered an interesting contrast. Mlle. Losier and Mr. Zeger performed Grieg’s “Ein traum” as the sole encore and sole non-French offering. One could not have wished for a better recital but one does wish for more from this divine duo.

© meche kroop for The Opera Insider

Faust, meet Dr. Atomic

This is a meeting that should never have taken place. In spite of some superb performances, Des McAnuff’s production is a bomb, one that failed to explode but just lay there like soggy cornflakes. One hopes Mr. McAnuff will stay on Broadway where he belongs. It would be a charitable speculation that he was trying to mine some serious philosophy according to Goethe but that is not the opera composed by Charles Gounod, a story of love and betrayal adapted from Michel Carre’s play “Faust et Marguerite” which in turn was loosely adapted from Part I of Goethe’s “Faust.” This is a Romantic opera which has charmed audiences for a century and a half with its direct emotional appeal and melodies that delight the ear and linger there as a fine wine lingers on the palate. In this production it was weighted down by symbolism.

The post-modern set by Robert Brill comprises walkways flanked by circular stairways reminding one of “L’Amour de Loin”. This is meant to represent some kind of facility that produces atomic devices. Chorus members dressed in white coats observe the action. There is a sink in which Marguerite drowns her baby. Pardon me while I puke!
The saviors of the evening were Canadian Yannick Nezet-Seguin whose baton led the fine Met Orchestra in a stirring and lyrical account of Gounod’s thrilling music; the fine Met Choristers; the compelling tenor Jonas Kaufmann who manages to caress every difficult French vowel and stay comprehensible; the formidable bass René Pape who made Mephistopheles as debonair as he is wicked (and, who knew, with a delightful note of humor); and the penetrating soprano of Marina Poplavskaya who showed some excellent acting chops. She was totally believable as an innocent maiden, aided and abetted by costumer Paul Tazewell and a very youthful wig. She struggles mightily against the seductive Faust, but who could resist the very seductive Mr. Kaufmann and his very seductive aria. Hot stuff!!!

Marthe was sung by Wendy White and Russell Braun was a rather stolid Valentin. Mezzo Michele Losier was a fine Siebel and will be reviewed shortly as a recitalist of great merit. It was good to have a native French speaker aboard. Also enjoyable was Kelly Devine’s choreography; not so the distracting video projections of Sean Nieuwenhuis. What on earth is the point of projecting the singers’ faces on a scrim? As a matter of fact, what is the point of hiring directors who seem to know nothing of opera and want only to “express themselves” at the expense of dramatic and vocal integrity??? The devil take them!

© meche kroop for The Opera Insider

Mi chiamono Hei-Kyung Hong

A singer cannot really steal La boheme from Puccini, nor from Zeffirelli, but she can fulfill the role of Mimi with such lyrical glories, focused tone, legato phrasing, total commitment and believability that one feels the story to be fresh and novel. Such was the case with Hei-Kyung Hong who was so beautiful and heartbreaking in her performance at the Met that one marvels at her artistry. There is not a trace of the self-serving prima donna about her performances. Quite simply, we adore her!

Susanna Phillips’ performance as the coquettish and fickle Musetta was nearly as impressive with her bright but warm soprano, allowing us to be tickled by her histrionic hijinks but ready to receive the generous heart underlying them.
Dimitri Pittas disappointed as he failed to convey much chemistry with Ms. Hong in the love scenes in Act I and II; his intonation was faulty in spots, he failed to float his upper register over the orchestra, and the legato line one hopes to hear just wasn’t there. It was curious that he connected better with Ms. Hong during Act III after he confesses to his buddy Marcello that he cannot deal with Mimi’s poor health and in Act IV when she is dying.

Alexey Markov’s healthy baritone seemed about right for Rodolfo, the jealous and frustrated lover of Musetta and Patrick Carfizzi sang Schaunard with good humor as he described playing for the parrot who died of “parsenic” poisoning. Bass Matthew Rose gave a fine account of “Vecchia zimarra,” an ode to his old overcoat that he is pawning to pay for the dying Mimi’s medicine; this is a most moving aria and we in the audience just know he is bidding adieu to more than just a coat.
Paul Plishka was delightful in both roles, as the befuddled landlord coming to collect the overdue rent from the four young men and getting sidetracked by their shenanigans, and later as Musetta’s wealthy elderly “admirer."

Conductor Louis Langree got the most out of his brass fanfares and lamenting strings; more importantly he did something unique and very effective by extending the moment of silence when Mimi dies. This accentuated the heartbreak of that very minor chord that never fails to bring tears to our eyes.

Finally, what can one say about Zeffirelli’s lavish production about which everything has already been said. Here’s what the Balcony Boxer has to say: we appreciate it for its verisimilitude. We are transported to early 19th c. Paris much as we are transported in Cavalleria Rusticana to late 19th c. Sicily. We are sick to death of the updated and modernized versions of Regietheater. We can make our own connections to the counter-culture youth of today and their moral provocations just as we can to the tragedies of young people dying of the diseases of poverty and poor living conditions. We love the way Puccini’s music is used to dictate the dramatic “business” onstage. We want this 30-year-old production to last forever and beg the Met not to retire it as they did with the glorious La traviata.

Now, what of Puccini’s music? How curious that La boheme was scorned by most critics during the late 19th and early 20th c. but adored by the public. Audience members have always had a strong emotional response to the lyricism of the score, the melodic invention, the subtle shifts that use the same themes to convey differing emotions in the four acts. It is well-known that Puccini gave a rather hard time to his two lyricists Giacosa and Illica who developed the libretto from the stories of Henri Murger. And we in the 21st c. are so glad he did. The result is a poignant and moving story told through glorious music that will thrill generations to come. If you have friends new to opera, this is a great introduction. And if you have seen it dozens of times as we have, you will never tire of it.

© meche kroop for The Opera Insider

From ghetto to palazzo

This original program, conceived by Jessica Gould, Artistic Director of Salon/Sanctuary Concerts, presented the seminal music of the 16th c. Mantuan Jew Salamone Rossi Ebreo. Soloists of the Clarion Music Society, and Steven Fox as Music Director can be credited with giving sensitive performances. Liturgical pieces were sung a cappella in the Hebrew language; secular songs were sung in Italian and accompanied by David Walker on theorbo and Gabe Shuford on harpsichord. Although all the soloists sounded superb in the ample space of the Italian Portuguese Synagogue, we were particularly taken by Molly Quinn’s heartfelt performance of “Tirsi mio, caro Tirsi”.

One could be forgiven for being ignorant of the historical and social underpinnings but the program notes went a long way toward dispelling this ignorance. The history lesson was most welcome and augmented the appreciation of this relatively unknown composer whose music was lost for two centuries. The Gonzaga court of Mantua engendered a rare period of humanism and tolerance for Jews who had for centuries been walking a fine line between acceptance and exile. Only three professions were permitted--medicine, banking and entertaining. Under the protection of the Gonzagas, Mantuan Jews experienced a Renaissance of their own with renewed interest in the Hebrew language and scholarship. Duke Vincenzo Gonzaga struggled to withstand pressure from the Vatican during the Counter-Reformation to ghettoize the Mantuan Jews. This allowed Rossi (1570-c.1630) to distinguish himself by publishing 13 volumes of music (half liturgical and half madrigals and canzonettas that have much similarity with the works of Monteverdi). He introduced the bold innovation of polyphony in sacred music which challenged existing liturgical precepts and offended more conservative members of his community who thought that only monody was acceptable in the synagogue.

And what happened to this community? Sadly, Austrian troops invaded in 1630 and destroyed the ghetto whose inhabitants fled or were killed. The Great Synagogue of Mantua, founded in 1529, was razed by Mussolini. But fortunately for us, Rossi’s music survived to be “discovered” by Baron Edmond de Rothschild on a tour of Jewish communities of Northern Italy in the 19th c. The first modern edition of Rossi’s music was published in 1876.

© meche kroop for The Opera Insider

A Family Affair

Accompanied with great artistry by his beautiful daughter Joana Pons, reknowned baritone Juan Pons gave a most fulfilling recital at the Bruno Walter Auditorium, under the auspices of The New York Opera Society and The Institut Ramon Llull. The mission of NYOS comprises identification, funding and production of premiere performance opportunities, supporting the development of professional artists’ careers and expanding audiences for both traditional and contemporary operatic repertoire. The mission of The Institute Ramon Llull is to promote the culture and language of Catalonia and the Balearic Islands. Both missions succeeded admirably, resting on the broad shoulders of this gifted dramatic baritone. Although known to most of us from his innumerable performances on the opera stage, this recital gave his fans an opportunity to experience his artistry in an intimate situation and in his native tongue.

Although the composers and lyricists were unknown to us and the language sounded quite different from Spanish (as different as Portuguese), the songs were lovely and clearly came from a golden age of song-writing. Whether singing of love, of loss, of death or of war, Mr. Pons invested each one with deep feeling. In spite of using the score, he demonstrated a remarkable ability to connect with the audience.

Following several songs by Antoni Parera Fons (lyrics by Guillem d’Efak), R. Martinez Valls (lyrics by Capdevila and Mora) and J. Ortega Monasterio (lyrics by Tofol Mus), the Pons family ended the recital with two Verdi arias, “Io Morro” from Don Carlo and “Cortigiani, vil razza dannata” from Rigoletto. We could have listened all night long but still felt satisfied and enlightened about a neglected artistic heritage. Thank you NYOS and Institute Ramon Llull.

© meche kroop for The Opera Insider

Six arias and a couple duets

One of our favorite groups in support of young opera singers had their annual membership party, offering six of the eight winners of “Encouragement Grants” the opportunity to sing for their supper--the bountiful buffet provided by the members themselves. President Murray Rosenthal offered a touching memorial to Robert F. Crosby who served Opera Index well from 1996 until his death. The sadness and feelings of loss were rapidly dispelled by the roster of young singers who delighted the membership with their talent and enthusiasm for performing. Tenor Adam Bonanni and baritone Julian Arsenault began the program by singing Mr. Crosby’s favorite, the duet from “Pearl Fishers”. Judging by the applause, it is the favorite of a lot of opera lovers.

Two fine mezzos treated us to some French favorites; J’nai Bridges sang the Habanera from “Carmen” and Kristina Lewis offered “Mon coeur s’ouvre a ta voix” from “Samson et Dalilah” --two very different seductions. Two terrific tenors were also on hand to tip the balance toward German; Kevin Ray sang “Wintersturme wichen dem Wonnemond” and Mr. Bonanni sang “Dein ist mein ganzes herz”. Lone baritone Mr. Arsenault essayed some Russian in “Jas Vas Lyublu” from “Pique Dame”. The sole soprano Maria D’Amato sparkled in “Chi il bel sogno di Doretta” from “La Rondine”. Accompanying the singers as piano partner was Michael Fennelly.

The ensemble closed the program with a drinking song which gave way to some wine-imbibing and food-devouring by the membership. This annual event gives the singers a good opportunity for exposure and allows the OI membership to see the stars of tomorrow. One look at the list of famous singers who received OI awards in the past is illuminating. The winners of the largest awards get to perform at other OI events later in the year.

© meche kroop for The Opera Insider

Medium-rare and Well-done

Gian Carlo Menotti’s darkest opera “The Medium” is RAREly done and was WELL-DONE by the Chelsea Opera at St. Peter’s Church. This is not the most comfortable venue for audience members, what with the hard wooden pews and poor sight-lines, but none of that mattered when Maestro Carmine Aufiero picked up his baton. He led his 14 musicians through Menotti’s interesting score, notable for its harmonic dissonance wedded to an innate lyricism that effectively parallels the emotional language of the singers. Listening is an altogether eerie experience suitable to a ghost story.
The story is compact with no subplots and the opera lasts under two hours including intermission. That is just the right amount of time to illustrate the mental decompensation of the (anti)heroine, one Madame Flora who runs phony seances. Once she begins to have tactile and auditory hallucinations she turns to religion and refunds her clients’ money.

At Saturday night’s performance the title role was performed by mezzo Mary Clare McAlee who gave her all vocally and dramatically; she was totally believable in her descent from general meanness into paranoia and madness.
As the daughter whom she bullies into assisting at the seances, the lovely soprano Rachel Sitomer sang beautifully but was not always intelligible. This may be due to the difficulties of singing English in the upper registers but one longed for either better diction or the presence of surtitles. Mr. and Mrs. Gobineau were sung by soprano Susan Holsonbake and baritone Giuseppe Spoletini. They sang well and were quite affecting as a couple trying to contact their long-dead little boy. Mezzo Patrice P. Eaton was equally affecting as a mother wanting desperately to believe that the white robed figure of Monica was the teenage daughter she lost. One of the major plot points is the gullibility of the bereaved who want more seances, even when Madame Flora tells them of her fraudulence.

The one character that failed to convince was the role of Toby, a mute gypsy boy that Madame Flora had taken in and then exploited, beat, and finally killed. It may have been his appearance that defied believability or perhaps it is very difficult to act without the use of the voice, but one should experience Toby’s death at the end as devastating, especially since Monica and he are in love. But the chemistry between the two of them just wasn’t evident.

The production was effectively directed by Laura Alley whose work is always superb; the actors seemed to move comfortably about the stage and their “stage business” always seemed connected to the lyrics. The simple set and lighting by Joshua Rose and Michael Megliola made the most of the limited playing area of the church. Costume design by Lynne Hayden-Findlay was true to the period of the story, the 1940’s.
One cannot help but think of Stephen Schwartz’ “Seance on a Wet Afternoon” performed last season at New York City Opera. What will be next, vampire operas? Stay tuned.

© meche kroop for The Opera Insider

Big Hair, Big Voice

Every inch the Principessa, force of nature mezzo Anita Rachvelishvili easily won the Act III catfight with Adriana Lecouvreur in the eponymous realismo opera by Francesco Cilea given by The Opera Orchestra of New York in concert version at Carnegie Hall. Such female rivalry seems to be a common theme in 19th c. opera. Think Aida, Anna Bolena, Norma. In this early 20th c. opera, the one with the bigger voice took the day. Both women looked ravishing, lavishly gowned and coiffed. But, painful to say, poor Angela Georghiu, so effective in La Rondine last season, was rather overwhelmed by the part. Her lovely voice shimmered when the orchestra was silent, but otherwise it was swallowed up, even in the alpine reaches of Stern Auditorium where the sound is usually superb. It appears that a bigger voice is needed to do the role justice.

On the other hand Ms. Rachvelishvili let loose with a large and dusky sound that filled the house. You loved her even as you hated the character. Her scenes with glamorous tenor Jonas Kaufmann generated far more chemistry and excitement than his scenes with Ms. Gheorghiu. There is something amiss when an unrequited love is more exciting than a requited one. Mr. Kaufmann had sung with Ms. R. in the final scene from Carmen Sunday evening at the Richard Tucker Gala and the same excitement was evident; they seem to be opera’s new power couple. It didn’t make much difference whether it was the man or the woman who went unloved; the singing was intense and riveting. The third remarkable presence of the evening was baritone Ambrogio Maestri, performing in New York, I believe, for the first time--but not the last. His upcoming performance at The Met as Falstaff is one to be highly anticipated. As Michonnet, stage manager of La Comedie Francaise, he created a character with a heart as big and warm as his voice.

It was strange to see anyone on the podium but Ms. Queler, the founder and conductor laureate of OONY, but Maestro Alberto Veronesi was a welcome presence and conducted with panache. The New York Choral Ensemble did a fine job, but somehow not as fine as the Metropolitan Chorus.

As far as the libretto goes, perhaps the less said the better. Adapted by Arturo Colautti from the drama by Eugene Scribe and E. Legouve, it concerns a romantic intrigue leading to the death of the heroine--death by poisoned violets as a matter of fact. Nothing was done to make the story clear; the lengthy and confusing summary in the program was no help. The situation dictated that one sit back and revel in Cilea’s gorgeous tunes which wove in and out of the action almost like Wagnerian leitmotifs.
Also heard were the fine Nicola Pamio as the almost comic Abbe and the equally fine Craig Hart as the cuckolded Principe. Various members of the acting company were portrayed by Danielle Walker, Jennifer Feinstein, Zachary Nelson, and Alexander Lewis from the Lindemann Young Artist Program.

© meche kroop for The Opera Insider

Lindemann comes to Austria

A good recital fills your heart with gladness and lightens your step. Such was the case when three gifted members of the Lindemann Young Artist Development Program paid a welcome visit to the glamorous townhouse occupied by the Austrian Cultural Forum. Everyone benefited. The Lindemann program got some great publicity, the Austrians promoted their culture, the singers acquired many new fans and the audience got an evening to hold to the heart.

Beautiful soprano Lei Xu stepped out on the small stage, dressed in a becomingly draped gown, looking every inch the star. Her three Schubert songs gave ample opportunity for her to run the gamut of emotions from the exultation of “Ganymed” to the anguish of “Gretchen am Spinnrade”. Ms. Xu seems to get inside a song and plumb its depths; and it all feels spontaneous as if she had written the poetry herself. Later in the program, she sang Hugo Wolf’s setting of “Ganymed”; the gestures and word colorations were completely different and totally in line with Wolf’s less classical harmonies.

Baritone Elliot Madore (madore-able) gave us four contrasting songs from Schubert’s “Schwanengesang”, from the powerful “Kriegers Ahnung” to the lyrically impassioned “Standchen” which could have charmed the birds from the trees, not to mention luring the object of his affection from her boudoir. This seductive charm was utilized even more effectively in a duet with Ms. Xu given as an encore. You guessed it! Don Giovanni and Zerlina! What a delightful display of an entire opera scene presented on a tiny stage. One could not imagine a better performance. Likewise, the other duet from Herr Mozart “Bei Männern” from “Die Zauberflöte” showed just how suited to Mozart this pair is. Fortunately, diction was crystal clear and every word could be understood.

Five songs of Fauré were sung by Ms. Xu and the “Siete canciones populares” were presented by Mr. Madore. A delicate and tender side was most welcome in the lullaby “Nana”. How refreshing to hear a lullaby sung by a man, and affectingly sung at that.
Pianist Bryan Wagorn completed this terrific trio with his skilled piano partnering, always supporting the singer without becoming “invisible”. His work shone as he created Gretchen’s spinning wheel. One hopes that there will be more ventures like this to look forward to. Much gratitude to the talented trio, to the ACFNY and to the LIndemann Program. Bravissimi tutti!

© meche kroop for The Opera Insider

Star-spangled Sunday

This year’s edition of the Richard Tucker Gala can be considered an unqualified success. All the stars, both new and familiar did their best to make the early evening event glorious. After a somewhat disjointed rendition of the erotic “Bacchanale” from “Samson et Dalila” conductor Emmanuel Villaume brought it all together with a display of precision and drama that led the Metropolitan Opera Orchestra to its customary peak of performance. Even allowing for the unfortunate absence of Marcello Giordani and Marina Poplavskaya, there was an abbondanza of talent onstage. Not to mention the huge forces of The New York Choral Society.

Angela Meade, a young soprano who has been winning competitions and dazzling audiences for the past few years lived up to her potential in “Santo di patria” from Verdi’s “Atilla”. Her voice is as ample as her body and she is sure to have a stunning future, with several appearances upcoming at the Met. Later in the program, she assayed the trio from Bellini’s “Norma” (the finale of Act I) with Dolora Zajick and Frank Porretta, a tenor who brought very little to bear on the performance. It was here that Ms. Meade revealed some minor shortcomings in the coloratura that a few more years should dissolve.

Ms. Zajick’s powerful voice was heard later in the program in Tchaikovsky’s aria “Tsar vishnikh sil” from “The Maid of Orleans”. Comparing this with a later duet, “Tu, qui?” from “Cavalleria Rusticana” demonstrated how much she requires another singer onstage to relate to. The first was rather lackluster, but bouncing off Yonghoon Lee’s persuasive tenor inspired her to a far higher level of performance; the acting was searing in its intensity. Mr. Lee, on the other hand was equally persuasive by himself in Massenet’s “O Souverain” from “Le Cid”. Just recently we had enjoyed his performance in “Nabucco”. He is a tenor to watch!

In the tenor department, Jonas Kaufmann made a splendid showing as Turridu in Mascagni’s “Cavalleria Rusticana”, squeezing every ounce of passion from “Mamma, quel vino e generoso”. There is something about his way with dynamics that tears at the listener’s heart. He can trumpet out a great big sound and then gently caress the vowels in a pianissimo that is still very audible. His duet with Bryn Terfel, “Dio, che nell’alma infondere” from Verdi’s “Don Carlo”, was thrilling, their two voices being so well matched.

Mr. Terfel was equally brilliant in his solo aria “Udite, udite, o rustici” from Donizetti’s “L’elisir d’amore” in which he was able to show a delightfully relaxed and humorous side of himself, engaging both the conductor and the audience. One wondered what he might have done with the role of Wotan, had he been unencumbered by “the machine” and clumsy costume and wig.

Two other “forces of nature” were on hand. Mezzo Stephanie Blythe gave a luminous performance of Ambroise Thomas’ melodic “Connais-tu le pays” from “Mignon”. One could listen to her large and lovely voice all night and never feel bored. Soprano Maria Guleghina also let loose with “Vissi d’arte” from Puccini’s “Tosca”. If there had been scenery one could say that she chewed it up. It was very emotional and very convincing, as was her performance in the aforementioned “Nabucco”.
Baritone Zeljko Lucic is always a pleasure to hear and his “Eri tu” from Verdi’s “Ballo in Maschera” was finely wrought and beautifully accompanied by flute and harp solos.

As a special treat added to the program, we got to hear and see the dazzling young mezzo Anita Rachvelishvili as she rejects Jonas Kaufmann’s Don Jose in the final act of Bizet’s “Carmen”. It is difficult to imagine anyone rejecting the glamorous Mr. Kaufmann, but she gets to die in his arms instead of falling to the ground. Oh rapture unforeseen!

The program closed with the final fugue from Verdi’s “Falstaff”, with parts being played by two stunning women, soprano Deanna Breiwick and mezzo Renee Tatum and by tenors Theo Lebow and Ta’u Pupu’a, baritone Edward Parks and bass Keith Miller. The orchestra played brilliantly and the voices blended masterfully, bringing this star-spangled event to a rousing close.

© meche kroop for The Opera Insider

Siegfried!

So much has already been written about “the Machine”! I finally found someone who liked it. He was sitting in the balcony box with me and he told me he is an architect. That figures. As for me, I feel like poor Papageno who has been given water instead of wine and stones instead of bread. I wanted magic and got technology. I feel punished. The machine is noisy and clunky and distracting. And what about the 3-D projections? As the cute little yellow bird flitted around the stage I kept thinking of the eponymous calypso song... ”Yellow bird, up high in banana tree.” Were those earthworms crawling around before Act I? I guess it depends on where you sit. From the balcony boxes, where sight lines are generally partially obstructed, one could get a fine view of Mime’s subterranean lair which might not have been so visible from the orchestra. Likewise the fake lake. Lots of the projections reminded me of those gigantic photo murals on the walls of dental offices. Enough said. What about the singing?

The third act was quite wonderful with the radiant Deborah Voigt showing singing and acting chops as the stunned Brunnhilde awakening from her long sleep. She was totally convincing in her fear of her newly mortal longing for her nephew Siegfried, the hero meant to save the world. Her capitulation was quite touching and she seemed to bring out the best in tenor Jay Hunter Morris who might have been saving himself for the big duet. The major shortcoming of the scene is when the actions did not fit the words, but at least we were spared the sight of Brunnhilde hanging upside down by her feet. As a matter of fact, at the beginning of the scene, she walked on, lay down and put the shield on her chest. Perhaps this was another mechanical failure that the audience is asked to overlook. The endless loop of projected flames grew very tiresome.

Bryn Terfel sang with power and more stage presence than in the first two installments. He seems to be growing into the role of Wotan, now called The Wanderer, but cannot fill James Morris’ shoes. Fortunately the horrible stringy dark wig that covered his face has been retired and replaced by a stringy white wig that doesn’t, but he still does not seem perfectly at ease.

Eric Owens has less stage time as Alberich but sings with great power and finesse, hampered only by a ridiculous costume. His brother Mime is portrayed by German tenor Gerhard Siegel who whines and wheedles and tries to induce guilt in the boy he has raised as an investment in trying to recapture the ring from the dragon (in this case a funny snake) who is really Fafner. The ludicrous aspect of this snake robs Siegfried’s killing of him of its power.

Glamorous Irish mezzo Patricia Bardon, gowned in a slinky black number, looked like anything but Mutter Erda but sounded fine. German soprano Mojca Erdmann, so adorable as Zerlina last week, is not seen at all but delights the ear as the Forest Bird. German bass Hans-Peter Konig is heard briefly as Fafner, lending some menace to that silly snake. Derrick Inouye conducted, not badly but not brilliantly. Mr. Levine simply cannot be replaced.

Final Score: Wagner 10, LePage 2

© meche kroop for The Opera Insider

Intimacy at the Met

The art of the lieder recital requires the creation of a sense of intimacy. But, with what? The audience? The piano partner? The music? The entire idea is baffling and no one since Pavarotti has given such a recital at the Met until last Sunday afternoon when tenor-of-the-moment Jonas Kaufmann did so with piano partner Helmut Deutsch. Staring at this beautiful and talented tenor through my opera glasses from a balcony box was not the best circumstance for a feeling of intimacy I am not sure that sitting in the front row of the orchestra would have helped since the size of the house mitigates against the feeling of “you, me and the music”. But it is unlikely that one would ever have the opportunity to see and hear such a super-star in a tiny venue.

This cavil aside, it was a great privilege to be in the audience and to hear Mr. Kaufmann’s impressive artistry and to see his engaging stage presence. He and Mr. Deutsch opened the program with some lesser-known songs by Franz Liszt, including the charming “Die drei Zigeuner” a setting of a poem by Nikolaus Lenau that gives us good advice on dealing with the darkness of life by smoking, sleeping or playing music.
Next Mr. Kaufmann gave us Mahler’s Ruckert Lieder which allowed him to show off his lovely phrasing, varied moods, and marvelous control of tone and color. In spite of having a dark Germanic sound, he can float a pianissimo with the best of them. He is quiet and poised onstage and restrained in his gestures, allowing his voice to convey the emotions.

After a handful of chansons by Henri Duparc, who chose some fine poets to set including Baudelaire, our artists moved on to six songs by Richard Strauss, and it is here that Mr. K. did his most thrilling singing. He clearly has a special feeling for Strauss. Who would not weep listening to “Befreit” or feel the peaceful joy of “Morgen!” or the exaltation of “Caecilie?

The audience demanded encore after encore and Mr. K. generously provided a half dozen, sounding just as fresh as he had at the beginning. Strauss followed Strauss followed Strauss; perhaps “Zueignung” was the favorite. He closed the program with “Dein ist Mein Ganzes Herz” from the Lehar operetta “Das Land des Laechelns”. We left the Met grinning from ear to ear and humming along with several other people who apparently were similarly affected. Bravo Jonas!

(c) Meche Kroop for The Opera Insider

Mariusz! Mariusz! Mariusz!

“Oh, Mr. Kwiecien, you have seduced and abandoned me but I love you still. You are exciting, dangerous and compelling. You are in control. Nothing diverts you from your purpose in life. You are a Don Giovanni for our age.”

Watching and thrilling to this year’s version of Don G. at the Met I realized that if anything is going to “show me something new” about any given opera, it is going to be the cast and the conductor, not the director. Much has been written about the disappointment of Michael Grandage’s production and its failure to say anything new. Whatever new that can be said about this opera was “said” by Fabulous Fabio Luisi’s crystal clear conducting which brought forth new delights by limning inner voices with astounding clarity. Whatever new insights that could be found were discovered by the sensational international cast who made each character believable.

Not only the Polish Mr. K. but, in no particular order, Mexican tenor Ramón Vargas’ stalwart Don Ottavio who expressed his devotion to Donna Anna with meltingly legato llines; Latvian soprano Marina Rebeka’s Donna Anna, Italian soprano Barbara Frittoli’s angry and frustrated Donna Elvira, Venezuelan bass-baritone Luca Pisaroni’s comic Leporello (made more so by Don G’s seriousness), the adorable German soprano Mojca Erdmann’s coquettish Zerlina, equally adorable Australian bass Joshua Bloom as her understandably angry hubby Masetto, and Slovakian bass Stefan Kocan as the murdered Commendatore. This United Nations of Singers said it all and said it well.
I don’t think Mr. Grandage owes us any apologies. It is true that the sets and costumes, credited to Christopher Oram were not exciting, but they permitted all the attention to be focused on the excellent singing. They were not nearly as egregious as Don G’s I have seen that were set in front of tenements or in church basements or funeral homes. When did opera become a director’s medium? Let the singers and conductors reclaim the art form! I wish to see and hear what the composer and librettist had in mind, not the “concept” of some director who wants to impose his vision on a revered work. Let us not repaint the Mona Lisa!

Please comment whether you agree or disagree.

© meche kroop for The Opera Insider

Oh, Oh Obradors

A selection of songs by early 20th c. composer Fernando Obradors were given a splendid performance at the Morgan Library in collaboration with The George London Foundation for Singers by the gifted young soprano Ailyn Perez. When the recital by Ms. Perez and her equally gifted young tenor husband Stephen Costello was announced, I was filled with anticipation, having enjoyed her performance as Marguerite (in Gounod’s Faust) so much last summer in Santa Fe, and having enjoyed Mr. Costello’s performance as Lord Percy at the Met just a few days earlier. My very high expectations were met and perhaps exceeded. Ken Noda as piano partner contributed enormously to the success of this recital. He is always impressively attuned to the singers he accompanies.

Ms. Perez used her thrilling voice and her acting chops in the program opener--”Salce, salce” and “Ave Maria” from Otello. So committed a performer is she that my mind conjured the set as if I had just then seen the entire opera. Mr. Costello followed with some songs by Paolo Tosti; the two sung in Italian “Ideale” and “Non t’ami piu” were especially affecting, as sung in a beautiful Italianate style. The other two were settings of English and it seemed to me that the English language does not lend itself as well to beautiful vocal lines. Such was also noted in the premiere of Mr. Pasatieri’s “Bel Canto Songs”, taken on by Ms. Perez. These settings of texts by William Blake, according to the program notes “employ a pure bel canto aspect in the vocal line but which also feature a contemporary harmonic palette in the piano part”. Okay, that may have been the intention but it did not come through in the execution, in spite of Ms. Perez’ excellent technique. Mr. Pasatieri writes beautifully for the piano but the vocal line did not hold interest, and for this I blame the poetry--lovely to read on paper but in no way singable the way Italian is.

The program closed with a charming scene from Mascagni’s “L’Amico Fritz” a duet between Suzel and Fritz in which nothing is discussed but birdsong and cherry ripening; BUT, the lyricism of the vocal line tells us more than words could how these two people love one another. Noting that Ms. Perez and Mr. Costello both won awards from The George London Foundation in 2006, I wondered whether they had met one another at that time and fallen in love. Hearing such a romantic duet certainly prompts romantic fantasies! The only thing that might have added to this satisfying recital would have been more duets. More duets please!

© meche kroop for The Opera Insider

Burnin' down the house!

There was lots of fire at the Met’s revival of the Elijah Moshinsky production of “Nabucco”: fire coming from the pit with Paolo Carignani’s spirited Italianate conducting of Verdi’s lavishly melodic score, fire from the gifted cast and real fire as the Bad Babylonians burned down the temple of the persecuted Judeans.

From the opening fanfare of trombones, one knew that a treat was in store. The overture alone was packed with enough tunes to keep one humming for weeks; the Met orchestra rewarded Maestro Carignani with luminous playing and the audience rewarded both orchestra and conductor with thunderous applause. This is early Verdi, composed when he was just 28 years old and marked a distinct departure from the bel canto style of mid 19th c.
Here we have some interesting characters in a rather stock situation. The vindictive Babylonian princess Abigaille is in love with the Judean Ismaele who is in love with Abigaille’s sister Fenena and seems to betray his country. The deluded Babylonian king Nabucco is drunk with power and declares himself to be not king but god. He goes mad and Abigaille seizes the crown; but his prayers to the Hebrew god restore his sanity and he reclaims the throne. It is easy to see how many opportunities this tale offers for impassioned singing and tender prayers.

This may be soprano Maria Guleghina’s best performance ever. She chewed up the scenery and spat it out. She easily leaped from chest tones to high C’s and dazzled with her virtuosity. Second year Lindemann artist mezzo Renee Tatum painted a believable portrait of Fenena with her fine supple voice and lovely appearance. So outstanding was her prayer in Part Four, one might wish that Verdi had written more for her. This is her largest role at the Met so far and we are looking forward to hearing much more from her.

Baritone Zeljko Lucic delivered his customary fine performance in the title role and was quite affecting in each of his many moods, from arrogance to pathos. Bass Carlo Colombara did full justice to the role of Zaccaria, the high priest of the Judeans. Tenor Yonghoon Lee in his second appearance at the Met was compelling in the role of Ismaele; he has a fine substantial voice that makes one yearn to hear more.
Perhaps more than in any other opera, the chorus is of critical importance and they did not disappoint. Their performance of “Va, pensiero” could make one weep. One cannot help thinking of the current upheavals in the Middle East--peoples trying to create or defend a homeland, nations struggling to redefine themselves. Not much has changed in two and a half millenia.

This is one production that the Met should keep in its repertory; one shudders to think how badly the opera could be damaged by some director’s “concept”. “Nabucco” belongs to the conductor and the singers who bring it to life. John Napier’s sets and J. Knighten Smit’s direction may be called “old-fashioned” but they are absolutely perfect. There is no elaborate stage business to distract one from the story-telling and the singing. The only false note was the presence of two gibbets in the final act. One doubts whether hanging was a biblical method of execution. Without knowledge of what people wore 2500 years ago, it is difficult to criticize the costuming of Andreane Neofitou. One could only say that the armies looked military, the Judeans looked only slightly drab, Ismaele looked just right to play Calaf, and the two women looked absolutely gorgeous.

© meche kroop for The Opera Insider

Isabellissima!

Why rush to see yet another Barber after having seen it well over a dozen times? The best reason is to witness gorgeous talented Isabel Leonard make the most out of the role of Rosina. Having followed her career with delight after hearing a student recital at Juilliard, I am delighted to report that she is fulfilling her promise in spades (and diamonds for her sparkle and hearts because you will love her too). She has a sumptuous mezzo and flawless technique both in the legato and in the coloratura passages with precision of articulation not often heard. It was a pleasure to see her in a dress, and Catherine Zuber’s costumes were most becoming, as was the wig, something we cannot take for granted.

I wish I could say the same for Mexican tenor Javier Camarena, making his debut at the Met in the role of Count Almaviva. We loves us some Mexican tenors but this performance did not make the grade. In his Act I serenade “Ecco Ridente” coloratura passages seemed rather muddy and high notes felt strained, although he improved in Act II and in the ensemble work. He just doesn’t command the stage as, for example, Juan Diego Flores does. Towering over him by virtue of talent and height was Swedish baritone Peter Mattei who had enough stage presence for both of them. His generous baritone and ease on stage are always a pleasure to watch and his chemistry with Ms. Leonard far exceeded that of Mr. Camarena.

Bass-baritone Maurizio Muraro sang the role of the foolish possessive Dr. Bartolo with great style and humor. Georgian bass Paata Burchuladze sang the role of slimy music teacher Don Basilio and Lindemann graduate Jennifer Check did just fine in Berta’s Act II aria, as did another Lindemann graduate John Moore who portrayed Fiorello in Act I. Rob Besserer garnered lots of laughs as Dr. Bartolo’s elderly servant.
Maurizio Benini conducted with vigor and lyricism this opera which is nearly 200 years old, composed when Rossini was only 24 years old. Melodies just poured out of the young Gioachino, melodies that perfectly match the charming libretto by Cesare Sterbini based on the play by Beaumarchais. No wonder that “Il Barbiere di Siviglia” has survived for nearly two centuries and remains in the repertory of so many companies. Audiences love it and this production met with thunderous applause at the time of curtain call. One wishes that Rossini had written more than the 30 gems he left us with.

I personally am not fond of the Bartlett Sher production or Michael Yeargan’s sets. The stage is rather bare but cluttered with doors and one second story balcony achieved by staircase. There is entirely too much distracting business in the direction and a burro led onstage for no apparent reason. I don’t see much point in Figaro being “loved up” by hordes of women, some of whom are put to work pulling his beauty salon on wheels. I would have preferred to have seen the burro do the pulling and the women do the singing. However, I must be in the minority because all the pratfalls brought forth peals of laughter from the audience and it certainly is a pleasure to see an opera audience having fun!

© meche kroop for The Opera Insider

Red Bed and Yellow Jacket

Aside from the gorgeous singing (more on that in a moment), what stands out in this monochromatic production of “Anna Bolena” is The Queen’s Red Bed and The King’s Yellow Jacket. Set Designer Robert Jones has given the production a castle with moveable walls, much like the sliding shoji seen in Japan. The costumes of Jenny Tiramani are absolutely accurate in their period detail, down to the undergarments. (Don’t ask how I know this.) However, the consistent use of black and white against the grey walls is fatiguing to the eye which yearns for some color. Fortunately, the astute lighting of Paule Constable goes a long way toward providing some atmosphere.
The production by David McVicar could best be described as static. Granted that not much happens in the opera. King Henry VIII has tired of wife #2 who has borne only a daughter and has his eye (and both hands) all over Jane Seymour, Anne’s lady-in-waiting. His method of dealing with this situation is to invite Lord Richard Percy (Anne’s great love whom she left to marry Henry) to return from exile and to thereby entrap Anne and get her convicted of adultery and dispatched by The Lord High Executioner of Titipoo, sorry, England. He implements the plot by manipulating Smeton, Anne’s pet musician who is also in love with her.

The Met’s superstar soprano du jour Anna Netrebko also has the entire audience in love with her. Well, most of the audience. She makes a huge impression with a weighty voice and some nice squillo at the top; she is ravishingly beautiful in spite of the recent “baby fat” and she chews up the scenery with a succession of emotions--pride, indignation, despair, jealousy, rage, terror, forgiveness, you name it. But something undefinable is missing. One has only to listen to some youtube recordings of Callas or Sills (from the New York City Opera’s mid 1970s heyday) to feel the goosebumps missing from Netrebko’s performance. Detracting still further was her poor diction in Italian and a bit of sloppiness in the coloratura. It wasn’t a bad performance, it just didn’t thrill the soul.

American tenor Stephen Costello was affecting as the lovelorn Percy, a role of daunting tessitura, and his Italian was far easier to understand. Ildar Abdrazakov was a virile and intimidating Henry. In the trouser role of Smeton, Lindemann graduate Tamara Mumford was outstanding. Her acting was completely convincing and her mezzo absolutely gorgeous. Ekaterina Gubanova sang Jane Seymour with a metallic edge to her voice that made it difficult to empathize. Keith Miller and Eduardo Valdes were fine in the smaller roles of Lord Rochefort and Sir Hervey.

Marco Armiliato conducted Donizetti’s dazzling melodies. There was one exquisite moment when Smeton is playing the lute for Ann, rather doing an excellent job of miming, while harpist Deborah Hoffman (I believe) is playing the actual music.
Having seen both the HD and the live performances, I wanted to close by reiterating a point made after attending 8 HD performances last month. The HD director has a large contribution to make and nowhere in the program was credit (or debit, in this case) given. The HD was even darker than the production itself and long shots were used when closeups were called for, and vice-versa. Opportunities for “reaction shots” were missed. I can only guess that the HD direction was somehow given short shrift or insufficient rehearsal. Or perhaps because it was filmed live during an actual performance. If any reader knows more, I welcome your comments. Also, if you agree or disagree on anything, please leave your comment.

© meche kroop for The Opera Insider

Candidely Charming

To pursue yesterday’s line of thought about the importance of chamber opera companies on the New York opera scene, much credit must be given to Coopera: POM as in “Project Opera of Manhattan” (or, as the case may be, “Pom Wonderful”). Last weekend’s production of the 1973 one-act version of Candide, credited to Harold Prince, was wildly entertaining, cast with uniformly talented young professionals and supported by a fine orchestra conducted with panache by the equally talented Jorge Parodi.

Discussions of whether Candide is an opera or musical theatre are pointless. According to Anthony Tommasini’s criteria, it is both an opera because it is musically-driven and it is musical theatre because it is dialogue driven. One might consider the music to be one of Leonard Bernstein’s finest creations while the lyics by Richard Wilbur are extraordinarily witty and clever. I suspect that much or perhaps most of the wit was provided as “additional lyrics by Stephen Sondheim and John La Touche”. The Sondheim contribution is most evident. The story is loosely based on Voltaire’s “Candide”. The master himself was played by John Martello who stepped easily into the role of Dr. Pangloss.

Evan McCormack has a meltingly beautiful tenor and played the title role to innocent benighted perfection. Soprano Rosa Betancourt certainly has the high notes and portrayed Cunegonde most winningly. Their duet about marriage was charming. Sophia Benedetti was a very frisky Paquette while velvet-voiced Jorell Williams had a great deal of fun portraying the vain self-involved Maximilian. Laura Virella (cofounder and artistic director of the company) used her rich mezzo to great advantage in the hilarious role of “The Old Lady” who gets by with one buttock. The audience went wild for her big aria “I Am Easily Assimilated”.

The final choral number integrated their voices with those of Aaron Mor, Scott Power Elliot, Dorian Balis, Gregory M. Spock, Gerad O’Shea, Tricia Ostermann, Meagan Amelia Brus, Monica Hershenson Thuris and Christine Price who all had assumed various roles in the production. There wasn’t a single disappointing voice in the cast.

Coopera has a mutually beneficial relationship with the Players Club, a lovely venue for chamber opera with a large flexible room that permits a variety of seating and staging options. In this case the stage was a slightly raised platform in front of the 13-member orchestra. There were only minimal costumes and virtually no scenery to compete with the music and acting and one quickly forgot about the lack. The New York City Opera presented the work in 2005 and 2008 and I distinctly recall the cast comprising both Broadway people and opera people. Sadly, it was amplified. Yes, the sets and costumes were lavish but I prefer the intimate production I just saw. Never mind that NYCO called itself “the people’s opera”. I would say that Coopera is REALLY opera for the people!

© meche kroop for The Opera Insider