Sarasota Opera Presents Bellini’s Norma

The Sarasota Opera presented a thrilling first performance of Norma by Sicilian composer Vincenzo Bellini (1801-1835) who created this masterpiece with librettist Felice Romani. The opera is both tuneful and full of conflict and truly different in a new and revolutionary way. The combination of chorus, aria and cabaletta, a fast aria after the lyrical passages that brings the passage to a dramatic trilling and thrilling usually with a high note finale. Norma had an abundance of melodic sweep made for what was seemingly a fiasco but became a much loved “must see” hit in the opera world preceding Verdi but with strong hints of a new direction for opera. Norma had its world premiere at La Scala in Milan, Italy on December 26th, 1831. Bellini’s early death was tragic indeed, but like Mozart or Brooklyn’s George Gershwin, what he accomplished in his short life was eternal.

My first Norma was at The Metropolitan Opera, (MetOpera) circa 1956 with Mario Del Monaco and Maria Callas. Callas was vocally unsteady, but visually captivating even then, but Del Monaco as Pollione revealed a voice of heroic mettle and Herculean thrust.

The Winter Festival of 2018 at the beautiful William E. Schmidt Opera Theatre at the Sarasota Opera on the afternoon of Saturday, March 17th, was indeed special by its first airing of this incredible work. Maestro Victor DeRenzi, looking as elegant as his photo on Verdi Place in the impressive souvenir program and an imposing sculpted bust of him in the theatre, raised his baton and the world stood still. The final words in his program message were, “We work hard to create a performance and we love what we do! We want you to enjoy it and to love it as much as we do.”

After the spirited overture, we see a stage evolve into brilliant color. Suddenly, we were in Gaul during the Roman occupation. It was like coming out of cataract surgery and seeing the world with colors you forgot existed. Cameron Schutza, truly as Pollione, looked the warrior in his colorful costume. Mr. Schutza has a very fine tenor with metallic grace and sang heroically.

Cameron Schutza as Pollione (left) & Thomas Massey as Flavio. Photo by Rod Millington.

Mr. Schutza whose tenor was of more modest means than the stentorian Del Monaco had a fine reliable instrument that gave warrior resonance to his arias and certainly heroic flair to “Svanir le voci” which was very well done. His lyrical passages were also present enough to evoke sympathy for his character. Some of Bellini’s “choppy” war like passages were like Betty Davis “a bumpy ride” before a triumphant take off. “Me protege, me defende.” Mr. Schutza was indeed a force as Pollione and one I shall remember. I still can’t understand why he strays unto fiery death with Norma and becomes a prosciutto Pollione when he played with two women so casually earlier. But that’s opera! Pollione fathered two children with Norma and then became lover to her best friend Adalgisa and he is a detested Roman also. George Costanza was accused of “double dipping” in Seinfeld but Pollione is even worse!

Oroveso, Norma’s father, the Chief Druid, was in the presence of Young Bok Kim. Mr. Kim has a moderate sized lyrical basso with an amazing quality of emotion in it. His expressive eyes and face were part of an ensemble of humanity. His opening aria “Ite sul colle o Druidi!” showed how much Mr. Kim is able to get from his vocal arsenal. His final scene with Norma,”O in te, ritorna” was like a rainbow of turmoil from anger to acceptance. A truly impressive and passionate performance.

Oroveso Chief Druid (Young Bok Kim – left in blue). Photo by Rod Millington.

Norma the Druidess, was Joanna Parisi. This was her first performance of this brilliant opera. I have heard Callas, Caballe, Milanov, Sutherland and Jane Eaglen in this unique role and I rate Ms. Parisi very high both vocally and dramatically. Ms. Parisi was a wonderful Butterfly with the Sarasota Opera last season, so I know she has the “goods.” Her Norma seemed to have, as it should, a dual personality both in voice and as a person. She would suddenly go up and come down to a Hades like low or go up and touch the hem of the gods “non so, diversi, affetti”. One thing prevailed, love, and deepened her humanity. Her decision to be the “guilty” one and join Pollione in the fire but making certain that her children are raised by Oroveso was that of a woman and a mother.

Joanna Parisi, Druidess (center in green) as Norma. Photo by Rod Millington.

Casta Diva, quite possibly the most beautiful music ever written, was sung divinely. When the chorus joined in, as Norma, under the light of the moon, delivers sacred mistletoe and flowers, one is transformed to another world until Bellini, through Norma, sets you down. Norma’s (Joanna Parisi) confrontational scenes with Adalgisa were angry, then compassionate and their scenes together were quite exciting. Legendary soprano and Norma, Rosa Ponselle (1897-1981) made a famous recording of “Mira O Norma” with mezzo Marion Telva in 1927 (as well as her own glorious Casta Diva) and captured the vitality and melody of this soprano-mezzo duet and triumphed!

Jennifer Black, Cameron Schutza & Joanna Parisi. Photo by Rod Millington.

Adalgisa was portrayed by Jennifer Black. Ms. Black has a truly radiant soprano voice and I did not hear any dark tones overshadowing the bright freer ones. She sang beautifully, with passion and was particularly-engaging in the Mira-Norma duet. She and Ms. Parisi  were outstanding in their long scenes together, “Salva mi, dal mio cor” with plenty of the coloratura, fioritura, and vocal variations of the day sung to illuminating perfection in the Bellinian style. Verdi admired Bellini, who set the musical world in a firmer more cohesive direction.

Norma (Joanna Parisi) with children. Photo by Rod Millington.

A personal aside, the Sarasota audiences are wonderful and knowledgeable, but why did Casta Diva not get the deserved ovation – or Mira o Norma? I don’t think audiences in general  are that aware of Bellinian music and they should be exposed more to it so they can properly applaud, and cry “Brava, Bravo, Bravi!”

Nicole Woodward (Studio artist) was a noticeable Clothilde, Norma’s confidant. Her rich mezzo was ear worthy and savored.

Thomas Massey (Studio artist) was Pollione’s friend Flavio and revealed a strong tenor and good stage presence.

Norma’s children were both excellent and brave enough – no wonder they happily survived her tantrum.

Adalgisa (Jennifer Black) & Norma (Joanna Parisi). Photo by Rod Millington.

Music director and Maestro Victor DeRenzi gave Bellini a truly brilliant reading from the overture to the incredible finale. The excellent musicians are much appreciated for their treasured efforts. Kudos also to Mark Freiman, Stage director for his easy to follow, brilliant and thoroughly digestible and memorable episodes on stage.

Oroveso Chief Druid (Young Bok Kim) center in white & Norma (Joanna Parisi) & Pollione (Cameron Schutza) on right. Photo by Rod Millington.

Scenic designer Michael Schweilkhardt for the brightness of his designs and the clarity of purpose-easy on the eye dazzling as a spectacle.

Costume designer Howard Tsvi Kaplan’s triumphant ware for Pollione and outstanding costumes for Norma as a leader and as a woman.

Ken Yunker’s lighting design was both vibrant and at the finale full of impact and flame.

Hair and make up were by Brittany Rappise-subtle and striking but never overdone.

The chorus excelled under Roger L. Bingaman. The Casta Diva and “Guerra, Guerra” episodes were quite thrilling.

The subtitles by Victor DeRenzi are helpful and informative. (by Words and music)

I always think of Norma when dining in a fine Italian (Sicilian) restaurant. Order Pasta Norma, it was Bellini’s favorite dish. Pasta, tomato sauce, eggplant slices topped both with ricotta insalata cheese. It represents Mount Etna and like Norma – it is a masterpiece! (Albeit a culinary one)

Executive Director Richard Russell who once  resided in Brooklyn wrote in the beautiful program article featuring “Opera can transform our souls.” We chatted with our neighbor Greg Trupiano, longtime Director of Artistic Administration. Ready for a nearby ice cream at “The Farmacy” in Brooklyn, Greg? We missed Sam Lowry, former Park Slope resident who heads Audience Development and thank him for his assistance. It was nice to chat with opera lover, August Ventura and his charming vibrant mother Romola and their friends from Brooklyn. Ventura was showing excerpts from his forthcoming Verdi film and the opera Luisa Miller at the opera house that week.

If its great opera that you want to see
Come to beautiful Sarasota – like Judy and me!
Whether it be comedy or catastrophe,
They will shine like magic with Victor DeRenzi and his splendid company!

Sarasota Opera Completes Verdi Cycle with a Spectacular Aida

Sarasota Opera production of Aida. Photo by Rod Millington.
The apartment of Amneris
Photo by Rod Millington

The Sarasota Opera is one of the finest venues for opera. The 1100 seat auditorium of this splendidly renovated William E. Schmidt Opera Theatre, is acoustically perfect and visually stunning. Pineapple Street in front of the opera house is now named “Verdi Way.” Conductor and Artistic Director Victor DeRenzi completed his 28 year Verdi cycle with a magnificent Aida.

The world premiere of Giuseppe Verdi’s (1813-1901) spectacular masterpiece Aida was December 24, 1871 in Cairo, Egypt supposedly to celebrate the opening of the Suez Canal. After its Italian premiere at La Scala in Milan, shortly afterwards, Aida swept the world. It should be noted that tenor immortal Enrico Caruso sang Radames in Aida at the Brooklyn Academy of Music (BAM) with the Metropolitan Opera (Met) on tour on January 17, 1910 with Arturo Toscanini conducting. Caruso sang in Aida several times at BAM until 1917.

On the evening of Saturday, March 19th, before the performance, it was nice to meet and greet the staff, many of whom are or were Brooklyn residents. Executive Director Richard Russell once resided in Park Slope, Director of Artistic Administration Greg Trupiano is a Cobble Hill resident and Director of Audience Development Samuel Lowry, introduced us to his vivacious parents Bob and Becky Lowry from Eugene, Oregon. Recalling fondly Sam’s six years of living in Park Slope, they queried if the Blue Apron Foods store still existed and it does!

The Triumphal March. Photo by Rod Millington.
The Triumphal March
Photo by Rod Millington

We also chatted with August Ventura, Verdi filmmaker (Film “27”) and lecturer with his Mother Romola who resides part time in Sarasota with his Dad Eustacio. Visiting from New York, we met the effervescent Brian Kellow and Scott Barnes from Opera News.

Finally we all entered the theatre and the magic began. Maestro Victor DeRenzi, baton aloft conjured up the opening notes of this masterpiece. The curtain lifted to show us the hall of the palace of the King of Egypt.

Radames is the captain of the guards. He is pledged to Amneris the daughter of the King. Radames falls in love with the Ethiopian slave girl Aida, who in reality is the daughter of Amonasro, now also a slave but actually the King of Ethiopia. Radames gives the invading plans to Aida and is caught by Amneris and Chief Priest Ramfis. Aida and Amonasro flee to safety. Radames is put on trial and found guilty of being a traitor; he is to be buried alive. Amneris begs the judges to change their mind but to no avail. Aida has managed to sneak into the tomb where she and Radames die together with Amneris on the ground above, chanting a prayer softly.

The Radames was Jonathan Burton whose singing of “Celeste Aida” revealed a powerful tenor with lyrical grace, ending the “untrono vicino al sol” first full voice then an octave lower and softly. Burton has  real “squillo” (shine) to his voice. His heroic singing in the duet “Numi che duce ed arbitto” with the Chief Priest Ramfis concluding jointly with “Immensa Ptha” was thrilling. His third act finale “Sacerdote io resto a te,” was with golden notes seemingly held together with electrifying intensity. His confrontation with Amneris in Act 4 was a revelation, “Gia i sacerdoti adunansi” with generous and expansive bursts of glory. Burton’s “Morire si pura e bella” was lyrically done with pathos and a beautiful blend with Aida. The final “O terra addio” was sung with security and resignation. This was an extraordinary performance from a very promising tenor.

The title role was sung by soprano Michelle Johnson. Her singing of “Ritorna vincitor!” in the first act was the revelation of an Aida of the first rank. Her creamy sound, vocal ascents and vivid charismatic persona made for many magical moments. Her confrontations with Amneris and the excellent translations made one appreciate her dilemma and the brilliant score by librettist Antonio Ghislanzoni. The conflicting emotions were all seen and felt. Ms. Johnson’s scenes with Amonasro had great impact and her sense of being torn expanded into newfound courage. Ms. Johnson’s wondrous singing of “O patria mia” with its exotic vocal turns found her “inner Aida” in full bloom. Her singing in the tomb scene and “O terra addio” was flawless. Ms. Johnson was a visually radiant and vocally compelling Aida.

Amneris arrives at a temple to pray Photo by Rod Millington
Amneris and Ramfis arrive at a temple to pray
Photo by Rod Millington

The Amneris of Leann Sandel-Pantaleo was exemplary. The part of the king’s daughter, Amneris, Radames lover in waiting and vengeful, and later repentant, is truly a scenery chewing role. Amneris feigns love for her rival Aida and learns of Aida’s true love for Radames. Like a cat playing with a toy mouse, she revels in her ploy. Ms. Sandel-Pantaleo was at her “baddest” best in “L’abborrita rivale a me sfuggia” and “Gia I Sacerdoti adunansi” in the fourth act. Her rich versatile mezzo with its haunting chest voice truly made her a unique Amneris. When the priests declare Radames to be a traitor and condemn him to death, Pantaleo’s convulsive tears “Empia razza! La vendetta del ciel scendera!” wracked her very being and transferred these emotions to the audience. She took a big bite out of this juicy role and left an indelible impression.

The role of Amonasro, father of Aida and King of Ethiopia was sung by Marco Nistico whose robust baritone impressed from his opening phrases “Suo padre Anch’ io pugnai.” His singing of “Ma tu, o Re, tu signore possente” was a heartfelt plea and together with the pleading chorus made for Verdian magic. Nistico’s impassioned and powerful singing in the Schiava scene with Aida was dramatically precise. His performance so dynamic in the third act, added greatly to the drama.

The King as portrayed by basso Jeffrey Beruan was both majestic and regal. His “Salvator della patria, io ti saluto” and “Gloria all’ Egitto” revealed a mellow bass of substantial quality.

The high priest Ramfis of Young Bok Kim was sung in a strong basso and shined in “Mortal, diletto ai Numi” in the “Immensa Ptha” duet with Radames. His Ramfis had dignity and depth vocally and was a vivid portrayal of justice served and mercy ignored.

Michelle Johnson, Jonathan Burton, and Leann Sandel Pantaleo in the final scene from Verdis' Aida Photo by Rod Millington
Radames and Aida in tomb below and Amneris above
Photo by Rod Millington

Tenor Matthew Vickers was a commanding messenger in his brief moment to shine and he did indeed with vocal strength and urgency.

The Grand March with the many treasures, dazzling costumes and what appeared to be a golden calf tribute was truly spectacular! The stage was full of extras top tier and bottom with trumpeters on both sides of the stage. It was a marvelous montage, beautifully staged and free flowing with feathers and pageantry galore! The audience loved it!

The act three set design was ravishingly beautiful with its shimmering moon, river waves, barge, palm décor and pyramids.

Kudos to Conductor Victor DeRenzi whose brilliant conducting of this magnificent score from the Grand March to the gentle finale was impeccable. “Words for music” supplied the subtitles which Maestro Victor DeRenzi also translated.

The musicians of the Sarasota Orchestra were truly inspired. The final Aida of a 28 year dream will live on in memory and a final Verdi concert the next evening will complete this monumental effort.

The stage direction by Stephanie Sundine made for a stage that crowded spectacle with ease, flawless movement and striking vistas.

The scenic designer David P. Gordon created images that are unforgettable like some living breathing tableau.

Howard Tsvi Kaplan, costume designer, gave us breathtaking costumes and made us feel at home in this time and place.

Ken Yunker’s lighting design, so viable in the third act and the tomb scene also fast framed the Grand March finale like a time travel camera flash.

The ever creative hair and makeup designer Joann Middleton Weaver’s work was striking, never garish.

The chorus of Sarasota Opera’s apprentice and studio artists, under the astute hand of Roger L. Bingaman was magnificent.

The choreographer, Miro Magloire and dancers Meghan Connolly, Holly Curran, Ariana Henry, Sasha Paulovich, Nicholas Peregrino and Preston Swovelin made sense of the various dancing scenes. The dance of the priestesses and the dance of the young Moorish slaves were a pleasure to behold.

At the beginning of the excellent generous souvenir program, board Chairman David H. Chaifetz praised Maestro Victor DeRenzi for the Verdi cycle plus the board members and volunteers for their time and effort. Executive Director Richard Russell stated  “Verdi has been very good to us. Sarasota Opera has arrived! Now let’s enjoy it and get ready for the next great adventure!”

Artistic Director Victor DeRenzi wrote “I will leave the last words to the Italian poet Gabriele D’Annunzio who wrote this as part of a poem written immediately after Verdi’s death.”

“Diede una voce alla speranze e ai tutti. Pianse ed amo per tutti.”

“He gave a voice to our hopes and to those in mourning. He cried and loved for us all.”