Category Archives: North American Opera

Opera Phila tells poignant tale of jazz in one word: Yardbird

Charlie Parker's Yardbird

The cast of Charlie Parker’s Yardbird presented by Opera Phila

Operatoonity.com review: Charlie Parker’s Yardbird, a world premiere co-commissioned and co-produced by Opera Philadelphia with Gotham Chamber Opera
Live performance: Sunday, June 14, 2015, 2:30 p.m.
The Perelman Theater, Philadelphia
Music: Daniel Schnyder
Libretto: Bridgette A. Wimberly
4.5 out of 5.0 stars

4.5strslg

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Tenor Lawrence Brownlee singing the title role Charlie Parker’s Yardbird | Photos courtesy of Opera Philadelphia

It is a rich and thrilling time in which to live when the world of opera boldly embraces the world of jazz. Virtuosos from one musical realm inspire virtuosity from another, specifically bebop or the style of jazz invented by Charlie Parker and Dizzy Gillespie that employed lightning fast riffs and sophisticated chord structures.

Opera Philadelphia presented a moving homage to the legacy of Charlie Parker with a world premiere of the chamber opera Charlie Parker’s Yardbird. The premise intrigues. On the day of Parker’s death, March 12, 1955, he arrives at Birdland to write his final masterpiece. There he encounters significant figures from his past including his mother, his past wives, his heroin dealer, and even Dizzy Gillespie until his body is identified, and he passes over into the next realm.

In this reviewer’s humble opinion, this work represents where modern opera needs to go: embracing current and timely myths and legends rather than those tales that have been done and overdone by classical composers.

Though robust, Daniel Schnyder’s musical score didn’t embrace as many dimensions as Charlie Parker’s did. Yes, Parker defined bebop together with Dizzy Gillespie, but he also played standards better than any saxophonist of his generation. I was hoping for more diversity of sound, a bit more convention and less aberration, more light and dark throughout. However, Bridgette A. Wimberly’s libretto was poignant and honest–a stunning treatment.

In the scene called ” Calvary,” Parker’s mother Addie and first wife Rebecca sing a tender duet of loss, each echoing the other’s words:

Ain’t easy, it ain’t easy to be a mother, a wife to a strong black man
This land ain’t no place for a jazz bird, for a jazz bird
For a jazz bird like my man got dreams

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Tenor Lawrence Brownlee was ideally voiced for the role. Vocally, he’s a monster, to borrow a term from jazz referring to a musician with chops that simply don’t quit. While Charlie Parker became addicted to heroin through no fault of his own–he was recovering from a debilitating accident–he became a drug addict nonetheless. Brownlee is, well, somewhat of a boy scout. Or at least that’s how he comes off onstage. Perhaps he is wild and raucous offstage–who knows? Regardless, a heroin addict is a theatrical challenge for the wholesome-looking Brownlee to portray convincingly.

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Soprano Chrystal E. Williams as Charlie’s first wife Rebecca and soprano Angela Brown as Charlie’s mother Addie.

The women in this show were a tour de force. Malleable, versatile, and adaptive, they were more than believable in their roles as discarded women, ex-wives, and illicit lovers. Angela Brown was the loving, long-suffering mother, Addie Parker whose son’s downward spiral evoked audience empathy since that she tells him he has become mean, either from the drugs or the success. She knows she has a prodigy in Charlie and can only wring her hands at his self-destructive choices. She sang with beauty and despair at his wanton choices and was warmly rewarded for her performance at curtain call.

AVA grad Chrystal Williams has been delightful in every role I’ve been lucky enough to catch her in at AVA and Glimmerglass. She can take on any role with sensitivity and believability. She has a clear, powerful soprano voice and tremendous stage presence, and I can’t wait to see her in her next role.

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Soprano Angela Mortellaro as Parker’s third wife Doris.

All of Parker’s wives evidenced incomprehensible devotion to him, despite his rejection and infidelity. Angela Mortellaro as Doris Parker and Rachel Sterrenberg as his fourth wife Chan brightened the stage with each appearance. Each had soaring voices and loads of presence on stage. While they each must have loved Charlie for the same reasons, it was hard to believe he could have cheated on either of these desirable women if he’d been of sound mind.

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Bird dies in the hotel suite of wealthy jazz patroness Pannonica de Koenigswarter or “Nica,” who endures life-shattering censure and scorn because a black man died in her segregated hotel suite. This lovely heiress, sung by Tamara Mumford with elegance and compassion, helped the audience better appreciate how much sheer appeal and charisma that Charlie Bird Parker possessed.

Tamara Mumford as Bird's patroness Nica.

Tamara Mumford as Bird’s patroness Nica.

From “Powder Her Nose” to “Silent Night” to “Dark Sisters,” it is vitally important to have a company with Opera Philadelphia’s resources and polish introducing contemporary works to today’s operagoers. Someone I greatly respect once said that if today’s opera could combine the melody of the classic works with the relevance of contemporary story, they’d have the ideal marriage of qualities to move opera forward to new audiences in the 21st century. Keep the new work and the chamber operas coming, Opera Phila. You are doing a tremendous service to the art form. Operagoers are indebted to you for your willingness to take chances and advance opera in the new millennium.

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soprano’s memoir “Call Me Debbie” a 5-star read

Operatoonity.com Book Review: Call Me Debbie: True Confessions of a Down-to-Earth Diva
Author: Deborah Voigt with Natasha Stoynoff
Publisher: Harper, an imprint of HarperCollins
Genre: Memoir
ISBN: 9780062118271
ISBN 10: 0062118277
Publication Date: January 27, 2015
Binding: Softcover (Advance Review Copy)
Pages: 271
5.0 stars

five stars

book cover

One can only peer into those deep blue eyes staring out at you from the cover of Call Me Debbie and wonder how this talented American opera star with the Midwestern good looks could have ever written an engaging memoir? Even into her 50’s, she looks like someone whose life must have been a fairy tale. America’s sweetheart, right?

Memoirs need to be jawdroppingly honest, gritty, and maybe even a little dirty to capture my interest. What could possibly be dirty, gritty, or jawdropping in Deborah Voigt’s life with her gifts and star power? What indeed.

The book’s subtitle Confessions of a Down-t0-Earth Diva does a great disservice to Voigt’s gripping life story. It makes those confessions sound wholesome and entertaining. On the contrary, this book is gutsy and brave. It is startling and, at times, horrifying and deserves loads better than the cheesy subtitle the Harper team slapped on it to attract more readers or a wider reading audience.

Deborah Voigt has one helluva life story to tell and does so with incredible candor and self-effacement. It is a story of emotional abandonment, family-of-origin issues, addiction, size discrimination, self-destructive behavior, promiscuity, self-recrimination, recovery, and rebirth.

Her memoir is divided into three sections: Act I , Piccola; Act II, Accelerando; and Act III, Crescendo.

Piccola is about her growing up in a too-strict household infused with Southern Baptist values, one that saddled her with self-esteem issues that would plague her throughout her adult life. It’s about her natural gifts bubbling to the surface despite her parents’ marital issues and emotional abandonment–the spankings, the jibes, the senseless strictures.

But the memoir really takes off during Act II, per this reviewer, when the reader takes the road with Debbie, vicariously experiencing the intense pressure and the scrutiny of reviewers, audiences, and professional colleagues, while battling the ever-present loneliness that comes with being an international opera star who must travel extensively to work.

While Voigt’s reputation grows because there is no denying her extraordinary gift, so does her size. At one point in the memoir when she is at her heaviest,  she comments that “it’s always open season on fat women.” Listen to this performance of Voigt singing “Dich, Teure halle” from Tannhauser with James Levine conducting, and tell me why it matters in the least what size she is:

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In the opening pages of the memoir, she reveals that she heard God tell her that she was on the earth to sing. After listening to that soaring aria, can any hearing person dispute that God spoke to her like she believes?

Throughout the memoir, Voigt does “kiss and tell”, which makes for occasionally juicy reading, but she also does the equivalent of opening a vein and bleeding out her “sins” and scandalous double-life of binge eating and drinking and one-night stands with men not nearly good enough or decent enough for her.

The hardcover version comes with an 8-page color insert, which sounds ideal. In the Advance Review Copy (ARC) I read which was softcover with no insert, I found myself going to the Internet to see photos of Voigt throughout her professional journey and listening to clips of her arias on YouTube. So, I would recommend the hardcover because of its compelling photographic insert.

Deborah Voigt

Deborah Voigt, before and after her gastric bypass surgery.

As a rule, I don’t read memoir.  It’s extraordinarily hard to write memoir well because you must reveal unflattering things about yourself and your loved ones. Not everyone can do it believably. Most people can’t be that honest and self-effacing.

Besides dropping half her size, if shedding the weight of the double life she was leading (acclaimed artist by day; drunk out of her mind and sleeping around on her days off) led to her recovery, than toi, toi, toi, Ms. Voigt. There are many, many people cheering you on and wishing health, happiness and peace, besides this fan. Please never forget that.

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book coverSpecial Operatoonity Giveaway:
If you’d like to win your own softcover copy of “Call Me Debbie,” leave a comment on this blog below. One winner will be selected by April 15.

Disclaimer: A copy of Call Me Debbie was supplied by Harper in exchange for an honest review.

 

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The Importance of Opera Philadelphia: ‘Oscar’ Review

Operatoonity.com review: Oscar presented by Opera Philadelphia; a co-commission and co-production with The Sante Fe Opera
Live performance: Sunday, February 15, 2015
The Academy of Music, Philadelphia, PA
Music: Theodore Morrison
Text: John Cox and Theodore Morrison
Photos: Courtesy of Opera Philadelphia

4.0 stars

And the Oscar goes to . . . Opera Philadelphia!

It may be Oscar Weekend across the globe, but for the last two weekends, Opera Philadelphia, the City of Brotherly Love’s preeminent opera company, deserves an Oscar for offering the East Coast premiere of a new American opera of the same name, co-commissioned and co-produced with The Sante Fe Opera.

Oscar’s production values were exquisite. Philadelphia audiences were treated to a world-class performance by arguably the world’s most outstanding and in-demand countertenor David Daniels. But most importantly, a new American production was ushered into the repertoire–one with heft, musical beauty, and promise for a fresh new future for opera, one that isn’t reliant on tasteless regietheatre-style regurgitations of classic operas or endless reproductions of La Traviata.

Countertenor David Daniels played the title role of Oscar Wilde in a role written for him. Photo | Opera Philadelphia.

As a new production, as new productions are wont to be, the show itself had some imperfections, which is why I gave it four stars. While it was a noble choice to paint Wilde as a tragic hero, the parts of Wilde’s life highlighted in Oscar combine to recreate a sort of grim limbo.  From time immemorial, “new” productions have been refined or reworked based on audience and or critics’ reactions. While Theodore Morrison’s music was resonantly and refreshingly melodic, the overall tone of the show itself needed a little polishing and more seamless integration, as if Morrison and Cox couldn’t decide what kind of show it was supposed to be. Oscar is alternately a despairing commentary on insufferably rigid Victorian mores and occasionally broadly satirical while very rarely bright. Agreed, dehumanization and imprisonment of human beings because of their sexual preferences aren’t the stuff of uplifting subject matter.

While Oscar effectively showcased the stain of intolerance on humanity, it rarely conveyed Wilde’s bright and often biting wit. Wilde himself used humor to lampoon societal values during Queen Victoria’s time. Yet, there are only glimmers of his comedic genius in the libretto, lines such as, “Absinthe makes the heart grow fonder.” The broad satire of Wilde’s trial to close Act I was nothing short of a tour de force:

The satirical representation of Wilde’s trial for indecency was a stellar scene in Oscar but also sadly creepy. Photo | Opera Philadelphia

However, irony might have also served this production. Generations of theatregoers derived intense pleasure and entertainment from a beloved playwright’s public genius but reveled in the condemnation of the same man’s private proclivities.  With such an unrelentingly dark treatment, more brightness would have made the dark scenes that more impactful. One broadly satirical scene does not an eye-popping production make.

Baritone Dwayne Croft sings the role of the ghost of Walt Whitman. Photo | Opera Philadelphia

One of the show’s welcome devices was making a narrator out of the ghost of American poet Walt Whitman, who sets the scene for the drama. Whitman met Oscar Wilde during his 1882 American tour but had passed away by the time Wilde reached the height of his fame. This from-the-grave commentary intrigued. Whitman ellipses the time between the premiere of  Wilde’s Lady Windermere’s Fan and his prosecution for “gross indecency.” Again, a bit more of Wilde’s life as the toast of London would have made his fall from grace that more deeply felt.

Baritone Dwayne Croft was perfect in the role of Whitman, which required an immortal grace, and he was equal to the task in voice and presence.

Without equivocation, the writers drove home Wilde’s obsession with his young lover Bosie. Making Oscar Wilde’s young lover a non-speaking balletic role was an inspired device, lending the production a welcome elegance and beauty.

As Bosie, Reed Luplau, a dancer from Western Australia, made a stunning Opera Philadelphia debut. Seán Curran’s choreography fit Luplau like a kid glove as Luplau dipped and glided into Wilde’s reverie, evoking the Irish-born playwright’s tortured longing for a sheerly lovely young man, whose father, the Marquess of Queensbury, was committed to Wilde’s downfall. 

Australian dancer Reed Luplau as “Bosie” was the essence of sensual elegance. Photo | Opera Philadelphia

The roles of Ada Leverson and Frank Harris were expertly sung by soprano Heidi Stober and tenor William Burden, a standout from last season’s Silent Night. Both performers valiantly endeavored to make their mark but were unfortunately burdened (pun wholly intended) by three very slow-moving scenes. While it is a time-honored operatic technique to comment on action that has occurred earlier, such as Frank’s infamous luncheon parties in the old days or Whitman’s devolution into poverty at his end, it’s not necessarily the most dramatically punchy technique.

Soprano Heidi Stober and tenor William Burden sang the roles of Wilde’s loyal friends. Photo | Opera Philadelphia

So, the show overall is flawed, but Opera Philadelphia’s execution was just about flawless. One can’t underestimate the value of their partnership with The Sante Fe Opera on this endeavor. These co-productions turn out to be much greater than the sum of their resources. Ingenious sets; world-class performances; inspired direction, lighting, and costumes are just a few values that one can expect when companies cooperate rather than compete. A very capable Opera Philadelphia orchestra conducted by Evan Rogister in his Opera Philadelphia debut showcased the compelling musical voices Morrison has created to tell the story, without overwhelming the singers.

The privations of jail led to Wilde’s deteriorating health and early death. Photo | Opera Philadelphia

Opera Philadelphia is taking on important work and more than a little risk with works like Oscar. They are informing and shaping the landscape of new American opera and will continue to do so with this season’s Charlie Parker’s YARDBIRD and next season with another East Coast premiere of Cold Mountain by Jennifer Higdon and Gene Scheer.  And the entire opera firmament is better and stronger for their daring to reach beyond what is known and comfortable.

 

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fresh and frothy ‘Barber’ kicks off Opera Phila’s 40th season

Operatoonity.com review: The Barber of Seville presented by Opera Philadelphia
Live performance: Sunday, September 28, 2014
The Academy of Music, Philadelphia, PA
Music: Gioachino Rossini
Text: Cesare Sterbini
4.5 stars

4.5strslg

 

 

The principals in Opera Phila's season opener delivered a real crowd-pleaser of a show on September 28

The principals in Opera Phila’s season opener delivered a zany crowd-pleaser of a show at the Academy of Music on September 28, 2014

Bravo! Bravo! Bravissimo! The planets must have been aligned (as were all the creative forces in play) over the Academy of Music on September 28, 2014 for Opera Philadelphia’s 40th season opening production The Barber of Seville.

What a wonderful romp! From the brisk and beautiful opening overture–from conception to execution–this was a frothy, foamy, and wholly hilarious show that made opera buffa as relevant and entertaining today as it was when it was written.

Credit the over-the-top direction by Michael Shell for the show’s overwhelming success. He envisioned a production as eye-opening as the one audiences experienced in Rossini’s day. Hence, we see carnival performers to dancing chickens to the lead tenor masquerading as a hippie-dippy music teacher. His entire creative team, including the whimsical set design by Shoko Kambara, carried out Shell’s vision to a tee.

The flavor of this Barber was rollicking, fresh, and fun. Director Shell credits Pedro Almodóvar for inspiring his treatment for this show. I suppose I am late to the Almodóvar party, but I do know the work of Almodóvar’s muse–Blake Edwards–and I guarantee you will recognize and appreciate the same absurd qualities of this show if you are a fan of the Pink Panther movies. This marked Shell’s directorial debut with Opera Phila, and I certainly hope it won’t be his last effort with Philly’s premier company.

The entire company was emotionally invested in pulling off this wacky ‘Barber’ from the moment that Figaro sung by baritone Jonathan Beyer rolled onto stage in a bright blue frock coat on a bicycle.

Jonathan Beyer cut a dashing figure as Figaro.

Jonathan Beyer cut a dashing figure as Figaro.

Beyer faces some daunting expectations playing one of classic opera’s signature roles and singing one of the most beloved and also challenging arias to kick off the show. He played a sturdy Figaro, but it was not a mind-blowing performance.  Clearly, he is not a Rossini baritone. And while the end result was solid, he seemed to be laboring very hard to achieve his sound. Since Figaro gets the last bow, you want to feel as though you loved that character the best. But in this production, Figaro was simply outsung, outplayed,  outperformed by Dr. Bartolo.

Dr. Bartolo?

Bass Kevin Burdette stole the show as Dr. Bartolo.

Bass Kevin Burdette stole the show as Dr. Bartolo.

There were many fine performances in this version of Barber, but bass Kevin Burdette as the ludicrously evil Dr. Bartolo absolutely stole the show–hands down.  I hardly recognized Burdette from his earlier star turn with Opera Philadelphia singing the loathsome Prophet in their stunning 2012 production of Dark Sisters. What a versatile talent Burdette is–as convincing in great comedic roles as he is in great dramatic ones! He is also obviously a human rubber band with the ability to twist his body into more convolutions than an unbaked pretzel all while seamlessly carrying off his vocals to great effect. He simply put the audience in stitches with each appearance.

Taylor Stanton sang the lovelorn Count Almaviva.

Taylor Stanton sang the lovelorn Count Almaviva.

Tenor Taylor Stayton as Count Almaviva was a great boon to the show’s success. His singing was also strong but not as effortless as Burdette’s.  However, his comic timing was spot on, particularly impersonating the psychedelic substitute music teacher.

Jennifer Holloway sang the role of Rosina.

Jennifer Holloway sang the role of Rosina.

As Rosina, apple of Count Almaviva’s eye, mezzo-soprano Jennifer Holloway was lovely to see and hear. In this zany production, Holloway reminded me of Marilyn in the old TV show The Munsters, in which everyone and everything around her is off-kilter, yet she has the grace and good looks to go with the flow and win everyone’s affection in the end. I would love to hear her in other roles. A very impressive performance!

Wayne Tigges turned in a hilarious Don Basilio.

Wayne Tigges turned in a hilarious Don Basilio.

As Rosina’s music teacher, bass-baritone Wayne Tigges delighted the audience with his rock-star aria delivered with bump, grind, and a fake microphone.  He proved a wonderful foil to soprano Katrina Thurman’s Berta, who took what might be considered a cameo or throwaway role and transformed it into a lustrous showcase of all her assets.

Katrina Thurman turned heads as the dishy Berta.

Katrina Thurman turned heads as the shapely Berta.

It was surprising to see how young many of the performers appeared in the program versus how they carried off older, more mature characters on stage with such aplomb. Credit must go to costume designer Amanda Seymour to wigs and make-up by David Zimmerman for the inspired platform they created for the performers to succeed.

Credit Opera Philadelphia conductor Corrado Rovaris for the glorious and controlled sound of the orchestra. The Barber of Seville is a long opera, and while the tempos were brisk, this is one opera that needs to keep moving.

In actuality, the production flew by. In no time at all, it seemed, everyone was on their feet at curtain call, rewarding the cast and conductor with a standing ovation for their efforts.

I am still hoping to see and hear a Figaro for the ages, which is why I gave this production 4.5 instead of 5 stars. But what a successful start to Opera Phila’s 40th season! I hope this augurs many more wonderful productions in 2014-15, for their 40th anniversary.

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‘Butterfly’ soars at Glimmerglass

Operatoonity.com review: Madame Butterflypresented by Glimmerglass Festival
Live performance: Tuesday, July 29, 2014
The Alice Busch Opera Theater, Cooperstown, NY
5.0 stars

five stars

The Glimmerglass Festival's 2014 production of Puccini's "Madame Butterfly." Photo: Karli Cadel/The Glimmerglass Festival.

The Glimmerglass Festival’s 2014 production of Puccini’s “Madame Butterfly.” Photo: Karli Cadel/The Glimmerglass Festival.

Exceedingly beautiful, tender, and elegiac, well executed in every aspect. The new production of Madame Butterfly at the Glimmerglass Festival in Cooperstown is an elegant, extraordinary show that delivers on all the weighty expectations placed on a beloved Puccini work.

It featured an evocative and versatile set and special effects including a shower of pale pink rose petals …

Yunah Lee as Cio-Cio-San in The Glimmerglass Festival's 2014 production of Puccini's "Madame Butterfly." Photo: Karli Cadel/The Glimmerglass Festival.

Yunah Lee as Cio-Cio-San in The Glimmerglass Festival’s 2014 production of Puccini’s “Madame Butterfly.” Photo: Karli Cadel/The Glimmerglass Festival.

. . . and, later,  a billowing curtain of blood.

Yunah Lee as Cio-Cio-San and Dinyar Vania as Lieutenant B.F. Pinkerton in The Glimmerglass Festival's 2014 production of Puccini's "Madame Butterfly." Photo: Karli Cadel/The Glimmerglass Festival.

Yunah Lee as Cio-Cio-San and Dinyar Vania as Lieutenant B.F. Pinkerton in The Glimmerglass Festival’s 2014 production of Puccini’s “Madame Butterfly.” Photo: Karli Cadel/The Glimmerglass Festival.

It was a consummate theatrical production under the directorial aegis of the Festival’s Artistic and General Director Francesca Zambello, offering a sweeping saga of the powerful tensions between traditional Eastern and imperialistic Western values and culture as distilled through the single act of abandonment of a sympathetic heroine by a blundering American naval officer that drove many audience members to tears as early as the first act and storming to their feet a standing ovation by curtain call.

Amidst hours of artistry, stunning music, and many spectacular voices, it takes some kind of  special performer portraying Butterfly to soar higher than all others and all the other elements, elevating a production to a transformative operatic experience. As Cio-Cio-San, Korean soprano Yunah Lee sang a Butterfly for the ages, worthy of elegy. Lee conveyed power, beauty, and grace in every note, in every gesture, in every facial expression–a living, breathing symbol of that lovely butterfly whose wings are pinned down by Westerners seeking to preserve and enjoy them by killing them.

Yunah Lee as Cio-Cio-San with members of the ensemble in The Glimmerglass Festival's 2014 production of Puccini's "Madame Butterfly." Photo: Karli Cadel/The Glimmerglass Festival.

Yunah Lee as Cio-Cio-San with members of the ensemble in The Glimmerglass Festival’s 2014 production of Puccini’s “Madame Butterfly.” Photo: Karli Cadel/The Glimmerglass Festival.

Everything Lee sang was perfection, from the famous Act I love duet with Pinkerton played impressively by American tenor Dinyar Vanya beginning with Bimba, Bimba, non piangere…

Dinyar Vania as Lieutenant B.F. Pinkerton and Yunah Lee as Cio-Cio-San in The Glimmerglass Festival's 2014 production of "Madame Butterfly." Photo: Karli Cadel/The Glimmerglass Festival.

Dinyar Vania as Lieutenant B.F. Pinkerton and Yunah Lee as Cio-Cio-San in The Glimmerglass Festival’s 2014 production of “Madame Butterfly.” Photo: Karli Cadel/The Glimmerglass Festival.

…to the opera’s most famous aria Un bel dì, delivered flawlessly. Though the audience knows through Suzuki’s reactions that Pinkerton is not coming back to live with her, somehow Lee has made us believe through her powerful rendition that there’s a glimmer of chance of a happy reunion–even if we’ve seen the show before, numerous times.

Kristen Choi as Suzuki and Yunah Lee as Cio-CIo-San in The Glimmerglass Festival's 2014 production of "Madame Butterfly." Photo: Karli Cadel/The Glimmerglass Festival.

Kristen Choi as Suzuki and Yunah Lee as Cio-CIo-San in The Glimmerglass Festival’s 2014 production of “Madame Butterfly.” Photo: Karli Cadel/The Glimmerglass Festival.

As Suzuki, American mezzo and Young Artists Kristen Choi was first-rate, turning in a nuanced and polished performance beyond her years, totally believable as Butterfly’s loyal maid, who is, if not older, considerably more worldly wise.

And the list of impressive performances continues. As Sharpless, Ukrainian tenor Aleksey Bogdanov sang the role with uncommon depth and sensitivity.  In addition to substantial artistry, Bogdanov has enormous stage presence and intelligence. Each of his warnings to Pinkerton, “Didn’t I tell you to be careful?” rings more urgent than the last because this Sharpless understands the consequences of Pinkerton’s actions even though Pinkerton himself remains clueless until the final scene of the show.

Kristen Choi as Suzuki and Aleksey Bogdanov as Sharpless in The Glimmerglass Festival's 2014 production of Puccini's "Madame Butterfly." Photo: Karli Cadel/The Glimmerglass Festival.

Kristen Choi as Suzuki and Aleksey Bogdanov as Sharpless in The Glimmerglass Festival’s 2014 production of Puccini’s “Madame Butterfly.” Photo: Karli Cadel/The Glimmerglass Festival.

Tenor Dinyar Vanya was ideally cast as Pinkerton. He has a clear, spinto quality to his voice that one expects of a leading man in a Puccini opera. His infatuation with Butterfly was so believable rendered and his love duet with her to end the first act so beautifully sung, it brought this reviewer to tears.

Dinyar Vania as Lieutenant B.F. Pinkerton in The Glimmerglass Festival's 2014 production of "Madame Butterfly." Photo: Karli Cadel/The Glimmerglass Festival.

Dinyar Vania as Lieutenant B.F. Pinkerton in The Glimmerglass Festival’s 2014 production of “Madame Butterfly.” Photo: Karli Cadel/The Glimmerglass Festival.

Though not a singing role, special mention must go to little Louis McKinny, as Sorrow, Butterfly and Pinkerton’s three-year-old son. Somehow, this adorable child understood how critical his role is to the success of the production. He executed his stage directions perfectly, comforting his stricken mother, even remembering to innocently play with the toy boat as he marched offstage, just as he was instructed to do.

Yunah Lee as Cio-Cio-San and Louis McKinny as Sorrow in The Glimmerglass Festival's 2014 production of Puccini's "Madame Butterfly." Photo: Karli Cadel/The Glimmerglass Festival.

Yunah Lee as Cio-Cio-San and Louis McKinny as Sorrow in The Glimmerglass Festival’s 2014 production of Puccini’s “Madame Butterfly.” Photo: Karli Cadel/The Glimmerglass Festival.

The show was conducted by the Festival’s new music director Joseph Calaneri. During the smaller more intimate moments of the show, he conducted his capable musicians as if they were gloved on his hand. But in the initial numbers of the first act, it seemed like both Vania and Bogdanov had to compete with the orchestra to be heard and both have huge voices.

Those who have seen ‘Butterfly’ before might be surprised by the directorial choices in this production. Scenes that have been traditionally set in Cio-Cio San’s village are set in the American Consulate instead. Personally, I found this to be an effective choice in driving home the themes central to the piece, including the intrusion of American military power and influence abroad without an adequate respect for and understanding of foreign peoples and cultures.

Set design was by Michael Yergen and lighting by Robert Wierzel.

Set design was by Michael Yergen and lighting by Robert Wierzel.

So yes, this production offers a different artistic approach, but a winning one, and the work of all involved from the sometimes ethereal-as-butterfly-wings scrims and fly pieces designed by Michael Yeargan to the period costumes by Anna Yavich to the lighting by Robert Wierzel all combined synergistically to splendid effect.

It is an original version and yet one that lifts up the music and conventions of Madame Butterfly painstakingly inserted by the composer and the original librettists that begs to be seen.  There are six more performances of Madame Butterfly at Glimmerglass Festival through August 23. Don’t miss it.

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Every mainstage performance is preceded by a Show Talk beginning one hour before curtain. The Show Talk for Butterfly was given by Director Francesca Zambella and is a wonderful add-on that will enrich your Glimmerglass Festival experience.

 

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