VOCE DI MECHE
Reviews of performing arts with emphasis on young artists and small opera companies.
MISSION
Thursday, April 18, 2024
TIERGARTEN
Wednesday, April 10, 2024
A PARABLE FOR OUR TIME
Now, what about the work itself? Ullman's music is at times rather jazzy, referencing composers of many periods. Although we have heard it scored for and played by 13 instrumentalists, including a saxophone, a banjo and a harmonium, we heard it performed last night by two pianists (Eric Sedgwick and Anya Gershtein) and a percussionist (Tarun Bellur). Under the musical direction of Djordje Nesic, it never sounded boring or "academic".
Saturday, April 6, 2024
THE EXTINCTIONIST
Katherine Henley and Claire Leyden
(photo by Russ Rowland).
How interesting that our companion for the evening (an opera singer) came up with the same thought as we did at the conclusion of Heartbeat Opera's production of The Extinctionist. "This would have made a great play!" Upon return home we took a look at the program for the first time, only to learn that the work was adapted from a play by Amanda Quaid! She wrote the libretto for this work, which is the first commission ever made by this risk-taking company.
There seemed to be two interwoven themes at play. One was a woman's fear of bringing a child into a dying world and the other theme being marital discord over the issue of starting a family. Fortunately, the play is not polemic and leaves the audience to decide for themselves. Good theater makes us think. We have heard that art is a mirror that gets us to see ourselves plainly.
Th woman in the story is well performed by Katherine Henly and her ambivalence about pregnancy resulted in palpable anguish. That she is the only character who feels threatened by catastrophic global warming makes us focus on her dilemma. On the one hand, a potential child comes to her in her dreams and we learn that she and her best friend, winningly played by Claire Leyden, had long planned to get pregnant at the same time (as did two sisters of our acquaintance). On the other hand, she is terrified by what she alone perceives as the end of the world as we know it.
A meeting between the two women had our main character shocked and distanced by her friend's rapture at being pregnant. "How could anyone bring a child into the dying world?"--a thought we ourself have shared.
The woman and her husband had been trying to achieve pregnancy for some time and one gathers that they may have married believing that they both wanted the same thing. The husband, ( played by Philip Stoddard) is not exactly sympathetic.
The most awkward scene we have ever seen onstage was the woman being given a pelvic exam by her gynecologist and later given a diagnosis which we will not reveal. We do wish the production team had consulted a genuine doctor as we found a couple inaccuracies in the dialogue and action; but perhaps the scenes with the physician (played by Eliam Ramos) were meant to be the woman's perception, rather than reality.
The work was well directed by Shade Ghaheri and Kate Noll's scenic design was stunning. The couple's bedroom was tasteful and modern, indicating that they were financially comfortable. It occupied one side of the wide stage whilst the other side served at times as a living area and at others as a gynecologists examining room. Bare trees and dying plants were scattered about the stage. Reza Behjat's lighting design subtly contributed to the mood of each scene Projection design by Camilla Tassi was apt, as is seldom the case. Scenes of weather disasters served to remind us what stirred the woman's anxiety. Costume design by Haydee Zelideth and Asa Benally was apt. The child puppet, created by Afsaneh Aayani, was adorable.
So, Dear Reader, as drama it worked. But, and this is a big but, this was billed as an opera. Was the music good? Yes, it was. Dan Schlosberg's original composition for piano, violin, viola, electric guitar and percussion would make an excellent curtain raiser on any symphonic program.
Although the instrumentals served to heighten the mood, the vocal lines were entirely unmusical. We wondered how the cast managed to learn their parts. And to sing with such excellent diction! This is a common feature of contemporary operas and the reason that they are rarely seen a second time. We want to leave the opera humming a melody. Our brains are programmed to want this!
It is likely that some of you, Dear Reader, will disagree with us and that is fine. We all attend live events for different reasons. We would just as soon have seen the play.
© meche kroop
Friday, April 5, 2024
THE OTHER CINDERELLA
Sara Zerilli, Charlotte Jakobs, Chun-Wei Kang, Ariana Troxell-Layton, Jennifer Robinson, A. Scott Parry, Vincenzo Fiorito, Brandon Pencheff-Martin, and Jacob Soulliere
We have long thought that the best opera composers would be former-singers. With their knowledge of the voice and how it is best utilized, they would know how to highlight the singers' gifts and how not to write music that is awkward and difficult to sing.
Proof of the proverbial pudding could be found at last night's production by Manhattan School of Music Undergraduate Opera Theatre, a performance of Pauline Viardot's one-hour take on the familiar fairy tale, a pure Gallic bonbon, written to be performed in her home by her very own students. For once, the Director's Notes taught us something, instead of the usual justifications for the director's distortion of the given work.
This one hour opera was written in the mid 1860's and performed in the early 20th c. by Viardot's students when she was rather advanced in years, having retired from the stage. None of the sadistic parts of the Perrault fairytale were in evidence, nor any of the Disneyfied padding. This was a simple story of a neglected young woman whose good heart wins the affection of a prince, even though she doesn't know his identity. And it's also the story of a grasping family that has scapegoated her. Her kindness wins out in the end.
We had the thought that Ms. Viardot wished to exemplify the values of the French Revolution (Liberté, égalité, fraternité) as well as the Christian values of charity and humility. Only Marie (splendidly sung by Ariana Troxell-Layton who colored her fine soprano instrument with sweetness) has compassion for the beggar who comes to the door. He is, of course, the Prince in disguise; the role was well acted and admirably sung by Vincenzo Fiorito.
In contrast, the two step-sisters were portrayed as entitled "Karens", not particularly evil, just self-centered and grasping. Soprano Charlotte Jakobs as Maguelonne and mezzo-soprano Sara Zerilli as Armelinde made the most of their roles, employing facial expression and body movement to tell us everything we needed to know about their characters.
Soprano Jennifer Robinson was everything one could hope for in the role of Marie's Fairy Godmother, demonstrating a stratospheric coloratura instrument of crystalline purity which she colored with benevolence. The scene between Marie and La Fée delighted us; hearing two such fine sopranos gave us hope for the future of opera.
Similarly, the tender duet when Marie and Le Prince fall in love was melodic and emotionally touching.
Marie's stepfather was portrayed as a former dishonest merchant who has risen in status to that of Baron Pictordu. We did not quite catch how that was accomplished but there was a reference in the libretto that must have been a secret joke in Ms. Viardot's circle. His part was well performed by baritone Jacob Soulliere and the role of the Royal Chamberlain, who gets to be Prince for a Day, was performed by tenor Brandon Pencheff-Martin.
We were delighted, not only by the fine youthful voices, but also by the staging. Director A. Scott Parry had the audience laughing when Marie, instructed by La Fée to produce a pumpkin, struggled to carry it; it was thrown out the window and its conversion into a coach was suggested by sound effects, allowing the audience to use their imagination. When instructed to produce some mice, Marie distastefully produces a couple mouse traps with the requisite presumably dead mice (more laughter) which were also thrown out of the window to become horses. Isn't imagination wonderful!
The set was minimalistic as were the costumes. Everyone wore black with some simple accessorizing like The Baron's bathrobe and La Fée's scarf given to Marie to magically create a gown.
Four years ago we attended this precious jewel of an opera presented by City Lyric Opera with a chamber orchestra. We remember loving the instrumentation but did not miss it last night due to the fine pianism of Music Director Chun-Wei Kang. We would also like to throw a bouquet to Elsa Quéron who coached the French diction. It is remarkable that we understood the language even at the highest register! Now that's something unusual! Still, projected titles were on hand for those who do not speak French.
In sum it was so fine that we would happily see it again tonight but last night was the last performance. We cannot believe that these were undergraduates!
© meche kroop