Category Archives: North American Opera

Voices in ‘Siege’ Set Glimmerglass Stage Spinning

Operatoonity.com reviewThe Siege of Calais presented by Glimmerglass Festival
Live performance: Monday, July 24, 1:30 p.m.
Alice Busch Opera Theater, Cooperstown, New York
Music: Gaetano Donizetti
Libretto: Salvadore Cammarano
3.5 out of 5.0 stars

 

 

The Glimmerglass Festival’s 2017 production of the American premiere of Donizetti’s “The Siege of Calais.” Photo: Carrington Spires/The Glimmerglass Festival

This summer Glimmerglass Festival took on a seldom-seen Donizetti work, The Siege of Calais. To their credit, the production dramatically underscored the centuries’ old adage: “War is Hell,” famously attributed to General Sherman during the U.S. Civil War. How many times has that sentiment been uttered by not-so-famous conquerors and conquests alike? Many of us are thankfully spared the scope of war’s true horrors.

The Festival’s Calais reminds us the devastation caused by war is as real today as when that siege occurred on the port city on the Northern coast of France during 14th century. Director Francesca Zambello sought to connect the crisis in medieval Calais to war-torn Syria in this century. A blockade ordered by Edward III resulted in besieged civilians lived in abject agony with no fresh food or water–some of who resisted, many of whom had no hope. Her association was apt and the message received.

“The Siege of Calais” | Photo: Carrington Spires/The Glimmerglass Festival

The functionality of the spinning set mirrored the vicious cycle that ensnares those living in war-torn towns and cities, past and present. A towering ruin slowly whirled around to reveal the bombed-out shell of a building, just different faces of the structure depending on the degree of rotation. Each turn showed the audience facets of a town where no one would have chosen to live but who lived there just the same.

The leading roles in this work were both sung by women, soprano Leah Crocetto and mezzo Aleks Romano, with Romano singing a trouser role. During the show talk, the presenter said the Donizetti, who wrote many more operas besides the ones most people know, always wrote to the talent pool available and that no tenors impressed him at the time. For that reason, he made the male lead a mezzo. The show is also not a prima donna-centric work–no opening aria signalling, “Hey, operagoers. I’m the reason for attending this show. Here’s my opening aria.” That choice made it unpopular and almost uncastable.

So Calais did not follow the expected formula of the time to attract the most highly touted sopranos in Donizetti’s day, but this production certainly featured a classically talented prima donna in Crocetto.

Leah Crocetto as Eleanora in The Glimmerglass Festival’s 2017 production of the American premiere of Donizetti’s “The Siege of Calais.” Photo: Carrington Spires/The Glimmerglass Festival

The garbage-strewn stage stands at odds with a bel canto style opera. It is Crocetto’s powerful and pure soprano voice that ushers in the bel canto, the beautiful singing, the opera requires. Her performance was rich and nuanced. While evidencing genuine despair, frustration, loss, and other strong emotions, her technique never faltered.

Aleks Romano as Aurelio, Rock Lasky as Filippo, and Leah Crocetto as Eleonora in The Glimmerglass Festival’s 2017 production of the American premiere of Donizetti’s “The Siege of Calais.” Photo: Karli Cadel/The Glimmerglass Festival

Cast as wife and husband, together she and Romano sang beautifully and believably all the music Donizetti created for two complementary women’s voices.

Aleks Romano as Aurelio in The Glimmerglass Festival’s 2017 production of the American premiere of Donizetti’s “The Siege of Calais.” Photo: Carrington Spires/The Glimmerglass Festival

A trouser role in a dramatic opera is a devilishy difficult role to play just right. As Aurelio, Romano had the appropriate amount of swagger and male physicality to suspend our disbelief that these two characters deeply loved one another as man and wife. Her voice was a strong and facile instrument, which sounded at its most beautiful when paired with Crocetto’s.

Young Artist Adrian Timpau delivered an outstanding turn as Aurelio’s father, Eustachio de Saint Pierre, mayor of Calais. He sang the role with gravity and sensitivity, never losing his conviction, despite the odds of saving his town mounting with each day his war-torn city is under siege.

Adrian Timpau as Eustachio de Saint-Pierre in The Glimmerglass Festival’s 2017 production of the American premiere of Donizetti’s “The Siege of Calais.” Photo: Karli Cadel/The Glimmerglass

Under Maestro Joseph Colaneri’s baton, the orchestra is in fine and varied form–brassy and militaristic, and at other times, pensive and atmospheric, matching the emotions on stage.

In this piece, Donizetti opted for more ensemble numbers than arias, and all rang gloriously throughout the house. After all, resistance makes for impassioned singing and captivating choruses.

In sum, directorial vision was sound, the staging and lighting were arresting, and the voices soared. So, why 3.5 out of 5.0 stars? Sometimes, pieces fade in the repertoire because they should fade, because they are flawed. They lack excitement, memorable music, and sufficient onstage action.

A convention hailing back to the Ancient Greeks of never showing audience violence onstage, but rather, speaking of it once the deadly deed has been done, handicaps theatrical works presented in the 21st century. It may have been a convention honored by Donizetti, but it is far less appreciated by today’s audiences, sorry to say.

When the piece premiered in 1836, it included a lengthy ballet–a device Donizetti hoped would provide its entré to the Paris Opera. Thankfully Glimmerglass jetéd his ballet scene. If this opera tended to be dull without a ballet, imagine the piece with one!

It was a noble intention to breathe new life into this rarely done work. Sometimes good intentions just aren’t enough.

* * *

Plenty of Glimmerglass Festival remains through August 22. See the Festival Calendar for all the events that remain this season.

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Filed under Bel canto opera, Festival Opera, Italian opera, North American Opera, Regional opera, Reviews, seldom heard works, sopranos, young artists programs

‘Porgy and Bess’ Rises up Singing at Glimmerglass

Operatoonity.com review: The Gershwins’ Porgy and Bess presented by Glimmerglass Festival
Live performance: Saturday, July 22, 1:30 p.m.
Alice Busch Opera Theater, Cooperstown, New York
Music: George Gershwin
Libretto: DuBose Heyward & Ira Gershwin
5.0 out of 5.0 stars

The 2017 Glimmerglass Festival production of The Gershwins’ “Porgy and Bess.” Photo: Karli Cadel/The Glimmerglass Festival

Glimmerglass Festival’s production of The Gershwins’ Porgy and Bess, the quintessential American folk opera, had plenty 0′ everything: splendid singing and dancing, dramatic staging and lighting, stirring and electrifying individual performances.  In totality, it was the finest show I’ve seen at the Alice Busch Opera Theater in the last six years.

Artistic and General Director Francesca Zambello will often direct one or more productions during each Festival season, and she adapted her Porgy and Bess, conceived for the show’s 75th anniversary in 2010, for the Glimmerglass stage. It was an inspired, masterly effort–her best directorial effort to date at Glimmerglass. While I can’t say the opera’s book is the strongest I’ve ever experienced–the show itself is like a string of musical sketches set in Catfish Row, a shanty town along the coast of South Carolina, rather than a deeply developed story–the music is the undisputed soul of this work.

Early tableau from Glimmerglass Festival’s The Gershwins’ “Porgy and Bess.” featuring Musa Ngqungwana as Porgy | photo by Karli Cadel

The music is filled with leitmotifs drawn from all annals of American music (spirituals, Tin Pan Alley, folk music), threading the sketches and the characters together. We all can tick off the hit parade of songs from Porgy and Bess:  “Summertime,” “Bess, You Is My Woman Now,” “I Got Plenty o’ Nuttin,’” and “It Ain’t Necessarily So,” a completely satisfying exercise and one of the reasons why the show is sold out for the rest of the season. Since Gershwin’s music drives the show, I’ll let it drive this review as well.

Only moments in, the audience is treated to the signature aria “Summertime,” a lullaby capably sung by Clara, portrayed by soprano Meroë Khalia Adeeb. What I liked most about Adeeb’s interpretation was that it sounded like a lullaby, not an operatic aria sung with a prop baby in her arms. She delivered a total performance as Clara–sympathetic and nuanced.

Meroë Khalia Adeeb singing “Summertime” as Clara | Photo: Karli Cadel/The Glimmerglass Festival

The talented ensemble, also the strongest I can remember at the Festival, introduces the tensions and issues facing the coastal tenement through one blockbuster number after another. “Roll them Bones” sung by the men of Catfish Row featuring Frederick Ballentine as Sporting Life and “A Woman is a Sometime Thing” sung by Clara’s husband Jake played by Justin Austin were expertly sung and performed, to a person, in each note and through cleverly choreographed movement.

Frederick Ballentine as Sportin’ Life (right) with members of the ensemble | Photo: Karli Cadel/The Glimmerglass Festival

I sincerely wish I had a photo to share from “A Woman is a Sometime Thing,” but there was none available. If you want to enjoy a fraction of the quality and flavor of that sensational number, you can watch a comparable version on YouTube from Zambello’s WNO production from 2010:

YouTube Preview Image

Porgy was evocatively and powerfully sung and acted by South African bass-baritone Musa Ngqungwana. Because Porgy is crippled, the townsfolk are protective of him, yet he never takes advantage of their sympathy. I have seen Ngqungwana perform in his more formative days at the Academy of Vocal Arts in Philadelphia, where he received arguably the finest operatic training in the world. He imbued the role of Porgy with the same qualities he became known for years ago with AVA: sincerity, strength, and vulnerability. It was a tour de force performance for him. From “I Got Plenty o’ Nuttin,’” to “Bess, You Is My Woman Now,” he gave each the perfect tone from playful to deeply passionate. Bravo, Musa! And grazie, Glimmerglass, for giving his gifts such a stellar, comprehensive platform.

Musa Ngqungwana as Porgy | Photo: Karli Cadel/The Glimmerglass Festival

We are introduced to Bess sung by soprano Talise Trevigne in the number “Happy Dust.” Bess may be a once in a lifetime role within the common opera repertory. Not even Violetta or Manon has so many highs and lows, has so many facets to her character. Trevigne is exotic and untamed as Bess, without Porgy in her life. The audience sincerely believes her transformation to a loved and lovable decent woman and her beautifully rendered “I Loves You, Porgy” because Porgy loves her unconditionally.

Talise Trevigne as Bess | Photo: Karli Cadel/The Glimmerglass Festival

The show was filled to the fly space with standout performers. As Serena the widow, Young Artist Simone Z. Paulwell’s soprano pipes blew the rafters off the theater in “My Man’s Gone Now”.  What a sparkling future this young woman has!

Simone Z. Paulwell as Serena, the widow | Photo: Karli Cadel/The Glimmerglass Festival

Illinois Baritone Norman Garrett inhabited the role of Crown, a larger-than-life villain, a character so evil you love to hate him. And in this show he gives the audience so many opportunities to revile him. Can’t be an easy role to play with overdoing it, but Garrett was sheerly and sincerely menacing.

Norman Garrett as Crown | Photo: Karli Cadel/The Glimmerglass Festival

Even smaller roles such as Peter sung by Edward Graves and cameo roles such as Strawberry Woman sung by  Jasmin White  and Crab Man sung by Chaz’men Williams-Aliwere glittering, no, expert turns in this show–all performed by Young Artists.

L to R: Piers Shannon as Scipio and Edward Graves as Peter

The best individual performance–hands down–goes to Frederick Ballantine as the devilishly sexy, almost otherwordly sinister Sportin’ Life, an alumnus of the Young Artists Program at Glimmerglass. He can sing, he can dance, and he commands the stage. I hope you give this young man a lead in an upcoming production (thinking Pippin here, Ms. Zambello). There were so many outstanding performances in this show, and Ballantine topped them all. “It Ain’t Necessarily So” brought the house down.

Frederick Ballentine as Sportin’ Life with members of the ensemble | Photo: Karli Cadel/The Glimmerglass Festival

Last but certainly not least, the ensemble in this show is the rocket fuel that propels the show’s plot and energy, coralled the audience’s enthusiasm, and made this the strongest production ever, in scene after scene after scene. Bravi to all.

The fabulous ensemble | Photo: Karli Cadel/The Glimmerglass Festival

 

A picnic on Kittiwah Island showcased the talented ensemble | Photo: Karli Cadel/The Glimmerglass Festival

During one of the many ancillary events–a set talk–one of the lead technicians mentioned that the performers need monitors to hear the orchestra. I am certain it is to the conductor’s credit that musical numbers involving the entire ensemble were the blockbusters. But one note to Maestro John DeMain. The orchestra was too loud during Porgy and Bess’s famous duet, “Bess, You Is My Woman Now”. The only disappointing moment in this production. Even the world’s best singers can’t outsing an orchestra during a love ballad.

As I mentioned earlier, this production is sold out. But you can enjoy the talented performers in other shows and venues this summer such as the Stars Night out events in the pavilion.

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Plenty of Glimmerglass Festival remains through the end of August. See the Festival Calendar for more details.

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Filed under 20th Century Opera, Best of Operatoonity, Festival Opera, Heartstoppers, North American Opera

Women make the ‘Marriage’ in Philadelphia

Operatoonity.com review: The Marriage of Figaro presented by Opera Philadelphia, a co-production with Lyric Opera of Kansas City, San Diego Opera, and Palm Beach Opera
Live performance: Sunday, April 20, 2:30 p.m.
The Academy of Music
Music: W.A. Mozart
Libretto: Lorenzo da Ponte
4.5 out of 5.0 stars

4.5strslg

 

 

 Susanna (soprano Ying Fang) and the Countess (soprano Layla Claire)

The stellar performances of Susanna (soprano Ying Fang) and the Countess (soprano Layla Claire) made for a happy ‘Marriage’ at Opera Phila. | All photographs by Kelly & Massa for Opera Philadelphia

Art imitates life, it has been said. If women are the glue that holds many marriages together, surely the women performing in Opera Philadelphia’s spring production made for a happier Marriage of Figaro. Soprano Ying Fang, soprano Layla Claire, and mezzo-soprano Cecelia Hall reminded us over and over in their arias (and they have many arias in this l-o-n-g show) why we love Mozart. And how much Mozart must have loved women to give them so many glorious opportunities to be the glittering stars in his operatic firmament.

(mezzo-soprano Cecelia Hall)

Mezzo-soprano Cecelia Hall was delightful in her trouser role as Cherubino, who is smitten with all women.

Perhaps because the show runs long, conductor Corrado Rovaris chose a presto (molto!) tempo for the most beloved overture in operatic music, a tempo to make Mozart-loving hearts race. The Kentucky Derby should only run as briskly. The music and the performance of it by the orchestra and by the principal singers, eclipsed every other aspect in this production–the silly story, the heavy and cumbersome stage units, the occasional nonsensical set decor (what was living room furniture doing in a garden scene?), the confusing costuming. So allow me to vent some minor annoyances with this production so I can turn my attention what made this show really work.

Lamentation #1: This production premiered on May 1 in 1786. The merry month of May is Mother Nature’s gift to the Western Hemisphere. May is typically a fusillade of pink and white apple and dogwood blossoms, tidy and trim tulips, fragrant lilacs, and lush peonies. It’s when the earth comes alive again and reminds us why life is beautiful. So why the dark, heavy, colorless, lumbering set pieces in this show? Even the garden set looked more like a sepulcher–like the gloomy cemetery scene from Don Giovanni–than a garden full of romance.

Lamentation #2: The costume choices, especially for Figaro, were also an annoyance. In order to get this show past the censor, the creators played up the comedy and played down the political satire. Why confuse the audience any further by dressing Figaro like every other servant or valet? It’s an overly silly story and production companies shouldn’t rely on the arrival of any of the many popular arias in this show to clarify just who is who?

Lamentation #3: Lastly why was this production so dark? I longed for lightness, brightness, and flowers. Finally, the bright green gardener shows up to blow Cherubino’s cover, but it is too little greenery too late.

 Susanna (soprano Ying Fang) pretends to sing her love for the Count, as Figaro listens on.

Susanna (soprano Ying Fang) pretends to sing her love for the Count, as Figaro listens on, a very humorous conceit. But the garden looks more like a mausoleum hit by a tornado than a setting for romantic intrigues.

But, enough about some of this reviewer’s minor disappointments. If the voices are expected to thrill in this production, then thrill they did.

As Susanna, Figaro’s intended, Chinese Soprano Ying Fang was a sheer delight in every scene, in every way. In voice, carriage, appearance, Fang, who New York critics called “a star in the making,” was the ideal soubrette. She has a sweet clear soprano voice like a silver bell, eager to make a favorable impression. The audience hung on every note of the renowned Sull’aria, perfectly sung with Canadian soprano Layla Claire. It was one of those treasured opera moments that would have been perfect to capture and then replay on a gloomy day to make your soul feel light and bright again.

 Susanna (soprano Ying Fang) overhears Marcellina loudly declaring Figaro will only marry her for money

In this scene, Susanna (soprano Ying Fang) overhears Marcellina loudly declaring Figaro will only marry her for money.

American soprano Cecelia Hall deftly delivered another jewel from Mozart’s ‘Marriage’ hit parade in her song of love “Voi che sapete.” Simply splendid in tone, pitch, and voicing! And expectations loomed high for this and all the beloved pieces from this well-known opera. In her trouser role, Hall turned in a charming overall performance and later in the show, she tossed in a few strains of “Finch’han dal vino,”  replete with boyish charm and hubris as a bit of stage business. Your cleverness was not lost on this Don G. fan, Ms. Hall.

 Cherubino (mezzo-soprano Cecelia Hall) serenades Countess Almaviva (soprano Layla Claire) with a song.

Cherubino (mezzo-soprano Cecelia Hall) serenades Countess Almaviva (soprano Layla Claire) with a song.

Cast as the lovelorn wife whose husband has a roving eye, Layla Claire sang and acted the role with sensitivity and believability–not always easy to do in an opera with an over-the-top storyline. She was brought to Philadelphia for her “virtuosic singing,” and her Broad Street debut didn’t disappoint. While the Countess doesn’t have the pluck Susanna does, she isn’t without contrivances, having agreed to exchange outfits with Susanna for the gloomy garden scene in order to trick her philandering husband. And of course she forgives him (but, without getting too political), isn’t it entertaining when women don’t let their men off the hook for the indiscretions? Politicians’ wives, take a note.

The men’s cavatinas and arias were sturdily sung by Pennsylvania’s own bass-baritone Brandon Cedel as Figaro and German baritone John Chest as Count Almaviva. Cedel’s comic timing was at its best during the scene when he learns that Marcellina is his mother and Bartolo his father.

The propensity for infidelity is hardly the most attractive quality in any man, but truth be told Chest made himself hard to resist in this scene because of his leading man qualities in voice and stature. (But resist she does because she loves Figaro.)

 The Count (baritone John Chest) thinks he has seduced Susanna (soprano Ying Fang); all the while, Susanna plans to reveal his infidelity.

The Count (baritone John Chest) thinks he has seduced Susanna (soprano Ying Fang); all the while, Susanna plans to reveal his infidelity.

All the buffo or stock characters–mezzo-soprano Lucy Schaufer as Marcellina, bass-baritone Patrick Carfizzi as Bartolo, and tenor Jason Ferrante as Don Curzio–delivered scene-stealing comic turns.

Figaro (bass-baritone Brandon Cedel) comes to grips with the news that Marcellina (mezzo-soprano Lucy Schaufer) is, in fact, his mother and Bartolo is his father.

Figaro (bass-baritone Brandon Cedel) comes to grips with the news that Marcellina (mezzo-soprano Lucy Schaufer) is, in fact, his mother and Bartolo is his father.

However, all the men were stellar when singing in company with the women in every Mozartian ensemble piece (and there are so many powerful ones in this show): the glorious 20-minute finale of (the traditional) Act II, the sextet in Act III , and the music and singing featured in the opera’s explosive conclusion, perfectly timed for a standing ovation.

Bartolo (bass-baritone Patrick Carfizzi), Marcellina (mezzo-soprano Lucy Schaufer), Figaro (bass-baritone Brandon Cedel) and Susanna (soprano Ying Fang) rejoice over their newfound happiness.

Bartolo (bass-baritone Patrick Carfizzi), Marcellina (mezzo-soprano Lucy Schaufer), Figaro (bass-baritone Brandon Cedel) and Susanna (soprano Ying Fang) rejoice over their newfound happiness.

The applause for the ladies of the ensemble was the most generous at curtain call, and deservedly so. However all the performances were strong in this show, with many virtuosic moments. I just wish that the design elements worked in tandem with the essential springtime spirit of the show to lift the soul as much as Mozart’s well performed music.

***

Opera Philadelphia opens their 2017-18 season with a blockbuster festival, Festival O17. More details available here.

 

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Filed under Classic Opera, Classical Composers, Favorite arias, Mozart, music and humor, North American Opera, Opera and humor, opera and romance, opera overtures, Reviews

Haunting #TheCell Hits Philly for Nat’l Opera Week; Opera Upper West Not Phoning It In

the-cell

A special seasonal prediction from the all-knowing and all-seeing Mme. Operatoonity:

Listen to me, darlings. Your favorite haunts for Halloween weekend are going to be the Ruba Club in downtown Philly and the Kevin D. Marlo Little Theatre at Harcum College in Bryn Mawr because of a powerful double bill of immersive opera theatre, courtesy of Opera Upper West.

The New York based company announces three Philly-area performances of #TheCell, a contemporary pairing of Menotti’s The Telephone and Poulenc’s La voix humaine in celebration of National Opera Week.

Thematically, the work combines two amazingly complementary sides of dramatically different pieces featuring young lovers whose passions are obscured in the technology that binds them–the dreaded cell phone–in one clever and often haunting masterwork. Though both pieces revolve around a mobile device, I promise you that this talented and spirited young company is definitely not phoning it in.

The chamber opera runs Friday, October 28 at 8pm at the Ruba Club (416 Green Street, Philadelphia 19123) and on Saturday, October 29, and Sunday, October 30 at the Kevin D. Marlo Little Theatre at Harcum College (750 Montgomery Avenue, Bryn Mawr, PA 19010).

The production stars Rachel Sigman as Elle, Meghan Mae Curry as Lucy, and Matthew Lulofs as Ben and is directed by Alexandra Fees, artistic director of Opera Upper West, who promises that operagoers will never hear their phones ring the same again after experiencing this work.

Rachel Sigman sings Elle in Poulenc's La voix humaine

Rachel Sigman sings Elle in Poulenc’s La voix humaine

The New York Times has lauded the work as a “A captivating experience…almost voyeuristic,” and by New York Classical Review as “beautifully crafted, and troubling to watch.”

Meghan Mae Curry as Lucy and Matthew Lulofs as Ben in Menotti's The Telephone

Meghan Mae Curry as Lucy and Matthew Lulofs as
Ben in Menotti’s The Telephone

I stopped in on a run-through yesterday at Harcum College. #TheCell augurs to be perfect Halloween weekend fare because its powerful themes, shared in such an intimate setting, will haunt you–that’s the trick part. The performances will delight you–and that’s the treat.

Alexandra Fees took time out of her busy schedule to answer a few questions about #TheCell for Operatoonity readers.

How did you decide to combine these two pieces in a single bill?
The Telephone and La voix humaine feature strong female leads obsessively immersed in their phones to gain connections that have already been lost. The two operas of 30 minutes each are musically and dramatically opposite: The Telephone (Menotti) is a fresh and hilarious farce, revealing a snapshot of modern relationships as Ben tries to propose to Lucy who can’t stop texting. La voix humaine (Poulenc) is an exposed and sensual drama in which a woman is stuck in a murderous room on the phone with her ex-lover. Thematically, however, these two pieces intertwine as young lovers attempt to bypass the technology that isolates them.

As Isaac Mizrahi, honorary chairman of National Opera Week, said of social media: “The greatest parts of our civilization are being tested.” Our cell phones simultaneously connect and isolate us. Rachel Sigman, starring in La voix humaine, calls phones our “modern monsters”: Phones carry our secrets. Phones are with us at all times. Phones create intense anxiety at the thought of their death. Phones, as in #TheCell, create multiple levels of truth at any moment, separating the voice from the body — what is said from what is meant. A person can be anywhere and convince you they are somewhere else.

The compositions of Menotti and Poulenc, at one time dramatized, now seem eerily prophetic and on target in today’s world.  This work is especially appropriate at Halloween, where we come face-to-face with our monsters that are typically overlooked.

Where did this show premiere and when?
This show premiered this summer at Cafe Tallulah’s underground cocktail lounge for the inaugural NY Opera Fest hosted by NY Opera Alliance, a consortium of independent opera companies in New York.

How did you choose Philadelphia for a location for this production?
At the production’s conception, we were looking to give more opportunities to emerging singers, especially women, by performing the chamber opera with several different casts and observing how the show would change based upon the actors in each role.  The Philadelphia cast features Rachel Sigman as Elle, Meghan Mae Curry as Lucy, Matthew Lulofs as Ben, and is accompanied by Kat Bowman.

We are thrilled to be hosted by two great venues: Ruba Club (Oct 28) is a historic Russian Club in downtown Philadelphia with a vintage cabaret space and cocktail bar. At Friday night’s kickoff, we will have an after party with drinks, dancing and billiards! The Kevin D. Marlo Little Theatre (Oct 29-30) at Harcum College is an intimate space in the heart of Bryn Mawr. Holding a rich history of experimental theatre, the facility was recently restored in honor of Kevin D. Marlo, a passionate actor who was killed during the September 11th attack on the World Trade Center.

How was Opera Upper West founded?
Opera Upper West was founded by myself (Alexandra Fees) and Aine Hakamatsuka, two New York based singers, to explore immersive opera as authentic drama rooted in the human experience. The first season featured The Marriage of Figaro as a real-time wedding in which audience members were the guests, complete with champagne toast, wedding cake, and throwing of the bouquet.

Can you characterize Opera Upper West’s niche?
Opera Upper West draws people who are looking for unique entertainment and social experiences, who want to explore something new, and who are interested in experiencing music theatre (opera) for the first time. For those who are seasoned operaphiles, our events are an opportunity to breathe in the musical drama from up close.

What are your future plans for the company? Short-term? Long-term?
Opera Upper West invests in educating emerging singers in a new approach to acting in opera, beginning with understanding the human experience and applying that understanding to the roles we play onstage. In the future, we would love to set up sister-boutique companies throughout the United States so that Americans have the opportunity to feel ownership over the art form and can look forward to experiencing chamber opera theatre as a social event.

Is there a role for chamber opera (a more intimate opera experience) the way to attract more millennial operagoers?
Creating a social event within a chamber opera, especially one concerning technology and its ironic ability to break down lines of connection, is a riveting experience for anyone involved in these digital platforms. We guarantee that you will never hear your phone ring the same way again.

Anything else you want to tell me about this show or yourselves?
Tickets are $35 General Admission and $45 VIP Premium Seating and can be reserved at www.OperaUpperWest.Eventbrite.com. Cash Bar available at Ruba Club, and Halloween after-party included every night.

For more information, please contact
Alexandra Fees, Artistic Director
operaupperwest@gmail.com
(256) 682-9912

 

 

 

 

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Filed under 21st Century Opera, North American Opera, opera and irony, Opera and social media, opera and technology

Turandot a triumph for @OperaPhila

Operatoonity.com review: Turandot presented by Opera Philadelphia
Live performance: Sunday, October 2,  2016, 2:30 p.m.
The Academy of Music, Philadelphia, PA
Music: Giacomo Puccini
Libretto:  Giuseppe Adami and Renato Simoni
5.0 out of 5.0 stars

five stars

 

 

turandot-007

Princess Turandot (soprano Christine Goerke) has vowed never to marry unless a man of noble birth can solve her three riddles. | Photo by Kelly and Massa for Opera Philadelphia

Some say Turandot, Giacomo Puccini’s final opera, unfinished when he died, is his tour de force. Puccini lovers including a number of Operatoonity.com readers cite its adventurous musical qualities. Lush orchestration with exotic Asian elements, both instrumental and compositional. Not to mention opera’s most famous tenor aria “Nessun Dorma.”

Puccini’s magnum opus may prove to be Opera Philadelphia’s tour de force this season. Their Turandot was nothing short of fearless and peerless spectacle, boldly embracing both the mystery and vibrancy of Asian culture on every level–sight, sound, movement, concept, staging, lighting, costume. It was the most mystical, moving mainstage production I’ve witnessed in five years.

 Princess Turandot (soprano Christine Goerke) has vowed never to marry unless a man of noble birth can solve her three riddles. | Photos by Kelly and Massa for Opera Philadelphia

Princess Turandot (soprano Christine Goerke) has vowed never to marry unless a man of noble birth can solve her three riddles. | Photos by Kelly and Massa for Opera Philadelphia

However, not because of the title character, sung in this production by dramatic soprano Christine Goerke. The storyline builds up Turandot’s first entrance so unrelentingly and thoroughly that the audience’s anticipation of their first glimpse and hearing of the frosty princess is palpable. Perhaps only ghosts of opera greats Sutherland and Tebaldi could satisfy this pent-up expectation for an imperiously icy Turandot who sings in unforgettable form.

Princess Turandot (soprano Christine Goerke) addresses Calaf, who has announced he will attempt to solve her deadly riddles. | ohotos by Kelly and Massa for Opera Philadelphia

Princess Turandot (soprano Christine Goerke) addresses Calaf, who has announced he will attempt to solve her deadly riddles. | photos by Kelly and Massa for Opera Philadelphia

Goerke sung a serviceable Turandot but not a great one. She was stronger in her third act duets with Prince Calaf than in the second, when she first appears. She screeched a few high notes in “In questa reggia,” the aria during which she explains that the obscure riddles are intended to avenge her ancestress, killed when an evil warlord conquered her kingdom.

“An evening never recovers from a cracked high note. It is exactly like a bullfight. You are not allowed one mistake.”  — Luciano Pavarotti (1935-2007) 

Granted, this may be the most difficult soprano role Puccini ever wrote, requiring the talents of a legendary soprano like Birgit Nilsson. However, Goerke sang the role at the Met last season. If she is considered one of the best of her contemporaries, that is not the Goerke I heard that afternoon.

 Liù (soprano Joyce El-Khoury) explains how she has stuck by her master, Timur, because his son, Calaf, once smiled at her.

Liù (soprano Joyce El-Khoury) explains how she has stuck by her master, Timur, because his son, Calaf, once smiled at her.

By contrast, from the first note of her first aria, soprano Joyce El-Khoury sang a meltingly lovely Liù that compelled listeners to lean in to capture every note.  The show may be entitled Turandot, but in this production, El-Khoury’s Liù captured the devotion of the audience and the heart of this critic.

Calaf (tenor Marco Berti) declares he will put his life on the line to win Princess Turandot’s heart. Photos by Kelly and Massa for Opera Philadelphia

Calaf (tenor Marco Berti) declares he will put his life on the line to win Princess Turandot’s heart. Photos by Kelly and Massa for Opera Philadelphia

As The Prince with No Name, tenor Marco Berti, faces a daunting professional challenge because “Nessun Dorma” is all but attached to the ubiquitous Pavarotti version. Berti’s take was beautiful and powerful, and the audience lauded him for his effort.  His overall performance was sturdy, if a little wooden, especially when Liù pours out her secret love for him. Based on his performance, the supertitle of his reaction to her heartfelt, heartbreaking confession should have been, “Meh.”

The exiled king Timur (bass Morris Robinson) discovers his slave girl, Liù, has sacrified herself for love. | photos by Kelly and Massa for Opera Philadelphia

The exiled king Timur (bass Morris Robinson) discovers his slave girl, Liù, has sacrified herself for love. | photos by Kelly and Massa for Opera Philadelphia

Bass Morris Robinson’s performance as King Timur was pitch perfect in every way. His voice was in excellent form and his sympathetic characterization of an exiled, broken ruler authentically and deeply felt.

While the opera company did not furnish a production photo of Ping, Pong, and Pang to share with Operatoonity.com readers, much to my chagrin, this reviewer would be remiss not to fete them as a highlight of this production. Daniel Belcher as Ping, Joseph Gaines as Pong, and Julius Ahn as Pang were frighteningly entertaining, at times barbaric, and also, in one shining number, highly sympathetic, as they recounted their previously happy lives in peaceful hometowns before being summoned into service for the Princess of Death.

Now that’s range!

Perhaps Opera Phila didn’t want to fuel any more complaints of ethnic stereotyping by providing pictorial evidence of these portrayals. However, just like the fictional kingdom in which they serve, these characters were a brilliant mash-up of more world cultures than a Kia Soul commercial and no genuine cause for concern–at least in this production.

The entire opera chorus from the littlest priest to all the villagers living under Turandot’s tyranny (the show’s Greek chorus) to the lithest dancer deserves kudos. So does conductor Corrado Rovaris and his versatile opera orchestra, whether playing gongs, indigenous instruments, or Western ones merely tuned to sound like they are native to the Far East.

Riddle me this, Operatoonity.com. If the performances weren’t five stars with every turn (except for El-Koury and Robinson), why the five-star rating? The direction, the orchestra, the spectacle, the high concept were out of this world.

Director and Choreographer Renaud Doucet staged an arresting, layered production that must be experienced. The stunning lighting, staging, and choreography of this show have already premiered at companies with whom Opera Philadelphia is co-producing this show including Minnesota Opera, Cincinnati Opera, Pittsburgh Opera, Utah Opera, and Seattle Opera, but (with any luck) not all.

A singularly original and richly satisfying opera. That’s what Opera Phila brought to the City of Brotherly Love. Turandot was a triumph. Simply put, Turandot is Opera Philadelphia.

 

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