Brooklyn Discovery

On the afternoon of Saturday, February 29th, the Regina Opera celebrated its 50th season at our Lady of Perpetual Help (OLPH) in Sunset Park, Brooklyn.  Selections from Verdi’s Don Carlo and Massenet’s Manon, and the Intermezzo from Puccini’s Manon Lescaut were presented as the Golden Jubilee Concert. Eminent Music Director Maestro Gregory Ortega began with excerpts from Giuseppe Verdi’s dark masterpiece Don Carlo.

“Io la vidi” was brilliantly sung by tenor Chris Carr with some dazzling high notes and his voice which has been called “confident” earned its title. This was a lyrico-spinto voice to watch.

Next was the beckoning opening chords of Verdi’s “O don fatale” by fiery mezzo-soprano Galina Ivannikova. I did not hear the darker “chest voice” to accompany the intensity of sound. I would have preferred she hold the thrilling last note a bit longer to fulfill the finale. Nonetheless, she has tremendous promise and will attain her potential of fame and glory when she does not “overcook” her vocal pasta and becomes the chef supreme.

“Ella giammai m’amò” was nobly sung by John Dominick III, who captured the majestic delirium of the aging king with a full cornucopia of rich basso cantabile phrasing with heartbreaking softness and power.

Baritone Scott Lefurgy sang “Per me giunto” with a nice dark quality and seemingly newfound power and followed with “Morte di Rodrigo” with perseverance, power and precision. 

“Tu che le vanità” was sung by soprano Antonina Chehovska in a creamy, dreamy heartfelt outpouring so typical of this grand and intense Verdi opera.

Selections from Massenet’s Manon then followed.

Tenor Chris Carr sang “Ah! fuyez, douce image” with lyricism and golden intensity. I have been spoiled by immortal tenor Enrico Caruso’s 1911 recording of this sublime aria but Mr. Carr’s dramatic rendering also found the longing in one’s soul.

The passionate duet “Toi! Vous!” was sung by Mr. Carr and Antonina Chehovska as her passionate love lures him in priestly garb from less earthly things back to the passion no longer suppressed, which they shared. Some productions have a bed nearby, not so subtle, but very much needed. Both Chehovska and Carr sang their hearts out and concluded the concert in true operatic and passionate glory.

Fifty years of the Regina Opera is a great and wonderful thing. Maestro Gregory Ortega led the musicians and singers with joy, passion and a sense of a half-century of loves labor found.

Next was Puccini’s great opera and only comedy Gianni Schicchi with a brilliant libretto by Giovacchino Forzano.  Gianni Schicchi was part of Il Trittico which had its Metropolitan Opera premiere in December 1918. Il Tabarro and Suor Angelica were heartbreaking and shocking. Gianni Schicchi the third and last of these operas was hilarious, the most critically acclaimed and is often done by itself or with other short operas. All three are outstanding and were followed later by his last opera, Turandot whose “hit” aria “Nessun Dorma” was sung by many tenors including Franco Corelli, Jussi Björling and Luciano Pavarotti. Puccini died before the opera was finished and Franco Alfano, using Puccini’s sketches, finished the opera – Turandot. 

Elizabeth Hastings was our opera Maestro and it is obvious Ms. Hastings is very much at ease conducting this brilliant masterpiece by the great Giacomo Puccini (1858-1924). She captured the spark of the piece and took us all on such a spirited and happy journey. The thirty-plus splendid musicians of the Regina orchestra were sublime. Plaudits to violinist Christopher Joyal concertmaster, Richard Paratley on flute and Miguel Tepale on the “funeral” bells. Bravo to all!

Gianni Schicchi takes place in Florence, Italy in 1299. Based on some lines in Canto XXX in Dante’s Inferno. Wealthy Buoso Donati has just died. His greedy relatives are trying to conjure up false grief which turns to alarm as Betto, Buoso’s brother-in-law spreads the rumor that Buoso was leaving everything to the monks. After a frantic search, the will is found and sure enough, everything goes to the monks. Rinuccio, Buoso’s nephew and Gianni Schicchi’s daughter Lauretta are in love. The family looks down upon Schicchi as being an upstart like the Medici’s, Giotto and Arnoldo. But Schicchi arrives to “help” them.

Rinuccio, Buoso Donati’s nephew, (portrayed by Chad Kranak) arrives and sings “Firenze come un albero fiorito.” This aria has some vivid high notes and bounces along in persistent vibrant melody. The great American Brooklyn born Met Opera tenor (from Boro Park) Richard Tucker (1913-75) made a great recording of this. Google it! Mr. Kranak’s fine ringing tenor assures us that Rinuccio is as committed to the city of Florence as well as to Gianni Schicchi.  Zita, Buoso’s cousin offers defiance refusing to let her niece, Lauretta marry Rinuccio. Gianni Schicchi senses the greedy hypocrisy and false mourning of the family, while Zita “disinherits” them. Rinuccio begs Schicchi to help them. Lauretta sings the iconic “O Mio Babbino Caro” threatening to throw herself into the Arno River if she cannot marry Rinuccio.

Lauretta, played by soprano Hannah Stone, sang this iconic aria with warmth and lyric tenderness which moves her doting father, Gianni Schicchi.  After studying the will and saying “nothing can be done”, he has a change of heart and decides to impersonate the deceased Donati. There is a knock on the door. Schicchi tells everyone to tell the visitor, Dr. Spinelloccio, that Buoso is alive and resting. He tells everyone that he will impersonate Donati and make a new will, “Si corre dal notaio.” Baritone Robert Garner gloriously sang the role of Schicchi and acted with panache and plentitude. His voice pleasing and plangent is not really a buffo one but it is subtle and superb and caresses the ear. His singing of “Si corre dal notaio” was endearing and charismatic. He makes out his will to the relatives who are thrilled. The spoils are divided up; however, the big ones – the mule, the house and the mills – were left to himself, “to my dear friend Gianni Schicchi.”  Schicchi is dressed as Buoso and warns them that the punishment in Florence for lying about wills is that their hands will be cut off and in “Addio Firenze,” they will be exiled from Florence. The notary and witnesses arrive and Gianni Schicchi gets what he wanted.

The angry relatives loot the place and Schicchi chases them out. Moved at the sight of the happy lovers, he turns to the audience and asks if Buoso’s money could end up better than this, and seeks approval for “extenuating circumstances.”

The smaller parts were all brilliantly done. Zita, Buoso’s cousin was animatedly sung by Alvard Mayilyan, Simone was Buoso’s cousin (Gennadiy Vysotskiy). His warm and powerfully caressing basso shows great promise and his stagecraft is perfection! 

Gherardo, Buoso’s nephew was Josh Avant impressing with vitality and clarity. Nella, Gherardo’s wife was Elena Jannicelli-Sandella whose lustrous soprano and strong drama sense was quite a delight. Baritone Jonathan R. Green as Marco, Simone’s son, also impressed with precision and power, La Ciesca, Marco’s wife played by Heather Antonissen, had a pleasing mezzo-soprano and strong personality.

Brian Ballard was notable as Buoso’s brother-in-law and Dr. Spinellocchio was in the superb hand of baritone John Schenkel. It was so nice to see him once again and enjoy his stellar and sparkling performance.

Ser Amantio di Nicolao, a notary was John Brakatselos, whose bass shined. Pinellino a cobbler, was Thomas Geib; Guccio, a dyer was Eric Lin; Gherardino, Gherardo’s son, the young and gifted Nane Arsenyan;  and Buoso Donati, the sparkling Shelly Barkan, whose talented family have been so supportive to Regina Opera as musicians, singers and actors.

The ensemble of relatives was excellent and was really the choral experience. The costumes by Marcia C. Kresge, so colorful was so fine for 1299. (The year-not the price) were flamboyant from the color of rose to Gianni Schicchi’s nose. (Jimmy Durante has met his schnozzola match!) The sets, designed by Linda Lehr, Wayne Olsen, and Richard Evens, were truly amazing and transported us to Firenze. The center panel on stage showing a view of Florence was remarkable – a triptych of splendor and the genius of set artist Richard Paratley.

Dante Alighieri, poet, writer of The Divine Comedy (1265-1321), places Gianni Schicchi in one of his circles of hell for this so-called crime. I hope he is forgiven by now.

It was nice to greet Joe Delfausse and Marlene Ventimiglia who welcomed all to the Regina Opera family. My opera group went to Casa Vieja, a Mexican Restaurant around the corner afterward, where Lourdes Peña made us feel that food and opera were blended in a perfect afternoon. As for Gianni Schicchi, he really did exist and I hope his stay in hell was a brief and benign one. 

Stage Director Linda Lehr, rode the tiger and tamed it. This Gianni Schicchi was forever placed in the memory bank. The stagecraft was sheer magic and each person stood out! Marie Cantoni and the founders of the Regina Opera past and Fran Garber deserve our praise and applause. The informative subtitles were very helpful. We look forward to Turandot in May. The Regina Opera has provided fifty years of joy and great opera for Brooklyn and opera lovers everywhere.

The Regina Opera Company began its 50th season with Carmen on Saturday, November 23rd in Sunset Park at Our Lady of Perpetual Help (OLPH) in their elegant auditorium. A crowded house warmly applauded Regina Chair Francine Garber-Cohen as she announced that the Regina Opera was ready to show the glories of Bizet’s masterpiece Carmen to the eager audience of opera lovers and audience members enjoying opera for the first time.

George Bizet (1838-1875) had written The Pearl Fishers earlier. That opera is exotic and has some lovely arias and duets, but not even a brilliant opening night at the Met with a stellar cast including Enrico Caruso could save it. It was recently successfully revived but it is a far cry from Carmen. Bizet finished Carmen but never knew the great fame and future glory this masterpiece would create. He died of heart disease at age 36.

Geraldine Farrar (1882-1967) was an American soprano beloved by her fans. Cecil B. DeMille chose her to star in his silent film Carmen (1915). She was so successful that she made 15 films for DeMille. Our friend, actress Geraldine Abbate, told us her parents named her “Geraldine” after Geraldine Farrar. Her esteemed husband Dr. Anthony Abbate, a fellow opera lover, is a boyhood friend and a renowned urologist. It was so nice to see his family of new opera lovers attending this performance of Carmen. Dr. Abbate is also a very talented sculptor and a few years ago for my 80th birthday he  gave me a truly wonderful bronze sculpture of the greatest of conductors, Arturo Toscanini which adorns my living room. Thank you Anthony, fellow Sicilian, opera lover and great friend.

Geraldine Farrar’s Metropolitan Opera Carmen was first criticized for being too tame. When she returned from filming, her Carmen was so frantic that she fought with a chorus girl and slapped Caruso. Caruso was furious at her brutally rough treatment and vowed he would never sing with her again. Cool heads prevailed and they performed together again to the audience’s raves (with her somewhat toned down Carmen).

Brooklyn Academy of Music (BAM) was treated to their Carmen on February 2, 1915 with Arturo Toscanini conducting. Caruso also sang Don José on January 14, 1909 at BAM again with Toscanini. The Met Opera included BAM as part of its tour until 1937. When Mme. Farrar retired at age 40 from opera in 1922, her fans, called “Gerryflappers”, filled the streets in front of the Old Met where she sang Leoncavallo’s Zaza.

The Regina Opera’s “Carmen” began with esteemed Maestro Gregory Ortega conducting the exciting Overture. It recalled Music Appreciation at  P.S. 200 in Bensonhurst when I would get goosebumps listening to the overture and didn’t know what it was. Maestro Gregory Ortega told me how much he enjoys conducting this incredible opera. His rhythmical and exciting passages made for an abundance of musical and emotional feelings in my innermost being.

The story takes place in a square in Seville in the 19th century. Carmen and her friends work in a factory and are known as “cigarette girls.” Carmen is not a “Puttana Diavolo” but she seemed to be at that time. She was a woman of an independent spirit. In the film, more based on French writer Prosper Mérimée’s story, Don José looks like he was hit by a truck when she gave him the rose. One knew he was doomed. At the finale, he has lost his beloved mother, his sweet fiancee Micaëla, his reputation and his military bearing. He has joined the smugglers and in a sense was like the village idiot. Carmen falls in love with Escamillo, the bullfighter. She is stabbed and killed by Don José outside the bull ring (Corrida de Toros) amid the cheers for her lover Escamillo, inside the bull ring.

Lara Michole Tillotson used her lustrous mezzo soprano in the “Seguidilla.” The lyrics explain Carmen’s free spirit, while the toe tapping rhythms entice even the tightest white-collared cleric to thoughts of lustful mayhem. Ms.Tillotson caught one’s attention in a pleasing plangent persistent outburst. Her “Seguidilla” was enticing and the castanets were well negotiated.

The card scene was a bit tame, and I recall the late beloved mezzo from the Bronx, Risë Stevens with Brooklyn born tenor Richard Tucker (born Reuben Ticker in Boro Park, Brooklyn) giving us a lesson in great singing with strong emotion. This was in “Carmen” at the “Old” Metropolitan Opera. Like Geraldine Farrar’s early Carmen, a certain panache was eluding the Regina performance.  Carmen’s “Habanera” was well done without incident. The castanets were as adroitly used as the cigarettes that the factory girls hungrily smoked. Her “Tra la la” song was like Lana Turner capturing her male prey in the film, The Postman Always Rings Twice. Ms. Tillotson’s ridicule of Don José’s refusal of her effort to go back to military roll call was very strongly done, indicating a more controlling Carmen than one would want. Her final scene in front of the Corrida de Toros was indelible as well as inevitable. Carmen’s love duet with Escamillo was indicative of the strength of her new love.This duet was brilliantly sung by film baritone Nelson Eddy and film femme fatale Ilona Massey in Balalaika (1939). I thought it a bit rushed at this performance and should have been emphasized more to show that this was Carmen’s new love.

Dragoon, military officer Don José, was in the able hands of rising tenor Christopher Trapani. I recall Mr. Trapani’s splendid Manrico (Il Trovatore) at Regina Opera earlier this year. Mr. Trapani has a very fine tenor voice and his duet with Macaëla, “Parlez-moi de ma mère”  was beautifully sung, recalling the recording of Enrico Caruso and Frances Alda, which is a classic. Mr. Trapani’s singing of the iconic “Flower Song,”  (“La fleur que tu m’avais jetée”) was wonderfully done in the style of renowned tenor Franco Corelli. Mr. Trapani hit the top note with seemingly effortless freedom and truly made one hope that his talent will carry him to fame and acclaim. His final scene should have probed his shame as well as his anger a bit more deeply. But he did very well but like a good pasta dish I wanted some “extra” meatballs.

The Micaëla of Alexis Cregger, whose radiant soprano has thrilled in Il Ballo in Maschera, Il Trovatore, and the title role in Lucia di Lammermoor at Regina Opera, was pristine and all in vain because Don José simply can’t leave Carmen. I once again felt a bit of restraint. Her singing of “Je dis que rien ne m’épouvante” was nicely done. This aria has ofttimes brought the house down, as it should. One does not have to have histrionics, but a certain tear in the voice and a sob in the heart can do it. All attention should go to Micaëla’s radiant plea. I suggest a little more indescribable thrust be felt by Ms. Cregger to bring down the house.

The Escamillo of Jaeman Yoon was audience pleasing. His warm baritone was expressive and soothing. His singing of “Votre Toast” (“The Toreador Song”) was vividly done and with the splendid Regina Chorus, it really energized the audience. Yoon’s love duet with Carmen was a generous blend of sound and he has really come far as a Gerda Lissner, Giulio Gari, and Opera Index winner.

The rest of this talented ensemble were: Geeseop Kim as Zuniga, a Captain;  Brian Ballard as Morales, an Officer; Katie Lipow as Frasquita and Maayan Voss de Bettancourt as Mercedes. gypsies; David Tillistrand as Dancaïro and Josh Avant as Remendado, two smugglers; Thomas Geib as a guide;  Roger Ohlsen as cabaret manager Lillas Pastia; the superb dancers Wendy Chu and Keiji Kubo, whose graceful movements were magical.The ensemble members were all excellent and it was nice to see veteran chorister Cathy Greco and artist Wayne Olsen. Nomi Barkan also lent her sparkling presence.

Gregory Ortega conducted an inspired performance, and one enjoyed the Maestro’s eliciting the  phenomenal beauty and power of this brilliant score. Richard Paratley was noteworthy on the flute. Plaudits to Christopher Joyal, concertmaster. All 36 musicians deserve extravagant praise for their efforts.

The beautiful and proper costumes by Marcia Kresge were colorful and gave one a good  sense of time past. The Regina Chorus and the splendid Children’s Chorus sang with glory and abandon. How grand!

The set design by Linda Lehr, Wayne Olsen, and Richard Paratley was exceptional. The painted large bull outside The Plaza de Toros was stunning. The blood-spattered paint in other scenes was a bit awkward and I felt it should have been omitted. Goya and Dali clash rather than blend.

This Carmen was directed by the brilliant Linda Lehr, a great favorite of mine. Regina Opera is lucky to have someone of such wonderful talent in this special celebration of Regina Opera’s 50th season of bringing the opera world to Brooklyn as the Metropolitan Opera once did.

Congratulations to Francine Garber-Cohen, Chair, Linda Cantoni, Joseph Defausse, Alex Guzman, Elena Jannicelli-Sandella, all board directors; and Marlene Ventimiglia, ticket volunteer and all members of the Regina family.

My group celebrated the occasion at Casa Vieja, a nearby Mexican Restaurant, where we had delicious food washed down with Sangria!  Hostess Lourdes Peña was our Lillas Pastia and we all had a great time! We look forward to Gianni Schicchi and Turandôt coming up in 2020, and many others in the future.

All hail the Regina Opera on its golden anniversary. A Christmas and holiday gift to Brooklyn and the world of Opera at its finest!

Martina Arroyo, Kennedy Award ceremony honoree, soprano supreme, who has been a beacon of light and pioneer since the 1960’s and 1970’s, a crossover classical singer with a delightful sense of humor still is in the game. She is a brilliant teacher “go getter”and nurturer through her Martina Arroyo Foundation. This gala event occurred at the Kaye Playhouse at Hunter College in New York City on Saturday, July 13th. Danny Kaye, (1913-1987) great entertainer and  film comedian and his wife (songwriter-actress) Sylvia Fine (1913-1991) were both multi- talented Brooklynites whose names live on in glorious memory.

Esteemed Metropolitan and New York City Opera tenor Richard Leech spoke of his commitment to the Martina Arroyo Foundation and his strong belief in its being the joyful breeding ground for our fresh new generation of singers eager and ready to “strut their stuff ” when they have trained diligently and are ready. A vigorous 6 weeks plus stipend is a Godsend for the young, eager and talented recipients.

Johann Strauss II (1825-1899) was known as the “Waltz King” and he put all that he had in his opera Die Fledermaus (The Revenge of the Bat). With its waltzes, folk tunes, choruses comedy and subplots, it has been a staple since its premiere on April 5, 1874. Die Fledermaus is set in Vienna in the late 19th century. The witty libretto is by Karl Haffner and Richard Genée.

The excellent conductor, Maestro Valéry Ryvkin, began the lively overture, an iconic favorite and all was well with the world as the eager audience were carried away to the funny, frivolous world of the golden gem of Vienna in its prime. The joyous abundance of rhythm and melody so superbly presented, gave all a sense of expectation which later became fulfillment. All of the musicians were splendid and gave us a pulse that we would retain for days. We are looking forward to the return of Music Director Willie Anthony Waters who is on the mend and expected back next summer.

The Rosalinda of clarion soprano Lisa Faieta was top notch. Her soprano has power, reserve, flexibility and a resonant top. Her duets with her husband Eisenstein were amusing and her ensemble singing impeccable. Her “Hungarian” song the “Czardas” was sung brilliantly, with a multitude of roulades and flourishes climaxed with a beautifully placed final high note!

Gabriel von Eisenstein was portrayed by Jimin Park and his firmly placed baritone allowed him to stretch the envelope with a wide vocal umbrella. He sang and acted with manly grace and was amusing and pleasing. His opening for “Goodness me, oh gracious me, what calamity” led to much merriment and revealed the sweetness and power of his voice.

Adele, the chambermaid, was in the enchanting curvaceous vase of Yejin Lee who used her lithe and lean anatomy in a role that called for “excess.” Thank goodness she banished from memory Mme. Florence Foster-Jenkins (Meryl Streep in the film) who LOVED singing her “Laughing Song,” (Mein Herr, Marquis) as well as her actress song, “Audition song,” Act Three. Ms. Lee scored a big hit and was an audience favorite. Her coloratura soprano has a quicksilver quality and her theatrical bravura was truly outstanding. She dominated ensemble singing and made a very strong impact. 

The Ida of Michaela Larsen was visually and vocally another bright ray in this production. Her plangent soprano envelopes the observer and coupled with excellent stagecraft, made for a lovely interlude.

The Alfred of tenor Congju Song was most amusing,”Drink my darling” and in the red dressing gown and hat of Eisenstein, he looked more like an Emperor than an Italian tenor (Ex beau of Rosalinda). His Pavarottian countenance made for humor and his attractive tenor was another big plus. I wished he had been given more stage time to portray Rosalinda’s Italian wannabee tenor and I missed the many snippets of opera his character usually embraced, everything from “Di quella pira” to “O sole mio.” As a Sicilian American, I certainly think he could have been a wonderful comic foil and a droll Italian!

I remember a heroic tenor from the Amato Opera, Boris Cristaldi who was a wonderful big voiced hammy and funny Alfred some four decades ago. At one performance his mustache got stuck on Rosalinda’s cheek! I wished for some broader comedy this time around but Mr. Song certainly did well. I guess not everyone goes as far back as I. It was nice to be sitting next to Amato baritone, Nathan Hull who directs the Amore Opera, now the chosen replacement for the Amato Opera. Nathan Hull took a full page ad in the Die Fledermaus program for Amore Opera’s December’s The Merry Widow. As we were chatting, the effervescent Barbara Meister-Bender walked by. She of New York City Opera, sang with Groucho Marx and Helen Traubel in a television presentation of The Mikado. Barbara Meister-Bender, ever glamorous could still sing Adele to perfection!

Dr. Falke was in the spirited countenance of Michael Parham. Mr. Parham’s bass is resonant and ear caressing. His singing of Bruderlein song in the second act was noble and with the ensemble it becomes sentimental and tinged with loving sadness. Nice job, Falke! I recall the excellent Falke of the Amato Opera some 40 or so years ago by baritone Walter Kavney. His partner, tenor Vincent Titone, was a staple at the Amato also for many  years.

Dr. Blind was admirably portrayed by Esteban Zuniga. This role was toned down a bit and became more of a comedic part rather than a disabled travesty. Mr. Zuniga, while not a Lou Costello, managed to be pleasantly  humorous in a buffo role! Mr. Zuniga has good comedic flair and needed more space to show it!  

Frank portrayed by Yichen Xue, had a pleasing baritone and strong acting ability and was an interesting amalgam of many skilled parts. He had charm, voice and elan and captivated us. To be frank (pun), he was very good!

Prince Orlofsky, the androgynous host of the party, was superbly brought to vivid life by Elizabeth Harris. With her red topped military outfit and clump of hair, she looked like a combination of Harpo Marx and the chief soccer player currently in Sports Illustrated, Megin Rapinoe. Ms. Harris’s “Chacun à son goût” aria was marvelous and her “King Champagne” aria was exciting with her strong mezzo and the percussion collaborating and her eyes fixed on Adele. Her silent servant, Ivan was well done and always had a drink at the ready! 

Frosch, portrayed by Evan Julius Nelson was present but there was no comic interlude. Several years back, at the Metropolitan Opera, I recall the great Sid Caesar as a hilarious multi-lingual incomprehensible Frosch and Dom De Louise also funny, in a later production hiding, then stepping onstage and exclaiming “I’m finally out of the closet.”

Melanie was Amy Guarino, whose sweetness and stellar soprano show promise and Lindsay Cherin, New Jersey soprano sparkled as Faustine.

 Kudos to Alan Fisher Stage Director and Vera Junkers, German coach. I had a bit of a problem reading the prompter but most people I am certain, found the dialogue translations useful. Lisa Jablow is to be thanked for her pulling it off so well for so many.  

The party scene had WQXR radio host Robert Sherman speak and introduce several singers to entertain. At the old Met, on February 16, 1905, Enrico Caruso sang an aria as a guest at Prince Orlofsky’s party and Polish soprano legend Mme. Marcella Sembrich (Rosalinda) sang and played violin! Those were the days! The Marcella Sembrich Museum at Bolton Landing on the banks of Lake George, is open summers and well worth a visit! You will find Artistic Director and composer Richard Wargo eager to provide information about their upcoming events.

Nicole Haslett who amazed us with Nannetta’s “Forest aria – Sul fil d’un soffio etesio”  from Verdi’s Falstaff made us realize how perfect this magical aria is. It was written in Verdi’s 80th year and brought to mind Prelude to Performances – splendid Falstaff last year, still flashing in memory.

Noah Stewart, spinto tenor with a “beacon of light” talent that will open more doors and more roles to future male singers of color, sang “Donna non vidi mai” from Puccini’s Manon Lescaut with verve, passion and longing, which coupled with a vibrant and rhapsodic tenor, made for a fine and robust interlude.

Bulgarian soprano Mariana Zvetkova gave a strong and powerful sampling of “Io son L’umile ancella” from Adriana Lecouvreur. Since 2012, Marianna Zvetkova has been Vice President of the Martina Arroyo Foundation.

A “surprise” appearance by coloratura legend Harolyn Blackwell, sang Puccini’s “O mio babbino caro” in a lovely soprano with diminishing pianissimos and all those special skills one associates with her name and claim to fame. Ms. Blackwell is a member of the Martina Arroyo Advisory Board. 

The sets were regal and sparkling with projections of old Vienna. Its  wonderful costumes were so fine to see and the ladies evoked memories of Zsa Zsa Gabor and family. The gentlemen were in spirit, all like actor Kurt Kasznar or baritone Herman Prey and were perfectly attired. Thanks to Ianna Higgins, Assistant Stage Manager for the elegant smoothness of it all. Many people worked hard to make it look easy!

The chorus, managed by Dror Baitel, sang wonderfully and “Brüderlein, schwesterlein” as always gave me goose bumps. Beautiful music gives one goosebumps not goosesteps!

It was so nice to see great Metropolitan Opera Verdi baritone Mark Rucker and charming and gifted Sadie Rucker (publicity) and Administrative Director Deborah Surdi, whose dedication to the Martina Arroyo Foundation results in such perfect evenings. We greeted our friends from Opera Index Jane Shaulis, Joe Gasperec, Murray Rosenthal, composer Philip Hagemann, Linda Howes, with composer pianist, Steve Phebus and Bill Goodhue, opera manager Ken Benson, Career Bridges Barbara and David Bender, writer Meche Kroop, French diction teacher Susan and lawyer Arthur Stout, opera lecturer Lou and Kathleen Barrella, Deborah Surdi, designer Rafael Sanchez and vocal coach Patricia Sheridan, stellar radio host Nimet Habachy and friend and opera lover Joan Gravallese, all “surprises” on this beautiful summer night. The famed filmmaker team of Powell and Pressburger, The Red Shoes (1948) and Tales of Hoffmann (1951) made Rosalinda (1955) with Anthony Quale, Ludmilla Tchérina and Anton Walbrook which updated Die Fledermaus to post World War II Vienna – well worth searching for! 

We found out later that a large part of New York City had a blackout with people stuck on trains and  elevators for hours-but all was well at the Kaye Playhouse for a splendid production of Die Fledermaus! Here’s to next year with a toast to the great Martina Arroyo whose father Demetrio worked as a supervisor at the Brooklyn Navy Yard to help with the cost of young Martina’s voice lessons. He often took Martina for baseball games (Brooklyn Dodgers) and delicious hot dogs at Ebbets Field. Thank you Martina’s Mom and Dad and thank you Martina for Prelude to Performance which gives so many young and talented singers such a great lift, enough to see the future, doing what they love. Bravo to all! 

A Toast to Prelude to Performance from Prince Orlofsky and guests for giving us 15 years of such delightful evenings! Chacun à son goût! Judy and I add the” special flavor with toppings” to our Fledermaus memory bank that this treasured and fun night offered us from the great Martina Arroyo’s new arrivals at the opera scene in a very captivating and enchanting performance of Die Fledermaus and of course thank you to Johann Strauss II for this glittering masterpiece!

On the evening of Saturday, June 1st, the Amore Opera presented a thrilling Un Ballo in Maschera at the famed Riverside Church in New York City. Un Ballo in Maschera premiered at the Teatro Apollo in Rome, Italy on February 17, 1859. The music was composed by Giuseppe Verdi and libretto by Antonio Somma, based on Eugène Scribe’s libretto for Auber’s Gustave III. The censors in Italy objected to having a royal assassination and Verdi had the setting changed from Sweden to Boston, Massachusetts and King Gustave of Sweden became the Governor of Massachusetts. Both versions are given.

The Riverside theater is intimate and everything is up close and comfortable and the spirit of Anthony and Sally Amato is ever present. Anthony contributed costumes and sets from their home at the Amato Opera in the Bowery many years ago.

The lights dimmed and conductor Douglas Martin lifted his baton. The overture was beautifully played and the peak moments were thrilling. Musically, the overture ended and the action begins at the King’s Palace in Stockholm, Sweden in 1792. The assassination was historic  and the masked ball where it took place made for great theatre!

Riccardo, the King of Sweden, is in love with Amelia, wife of his best friend Renato and his secretary. They all go to Ulrica the fortune teller, who tells Riccardo that he will be killed by the next man to shake his hand. Ironically it is Renato. They all laugh off the witch’s assumptions. To rid Amelia of her feelings of love for Riccardo, Ulrica recommends a special herb gathered at midnight by the gallows outside of town. Amelia is first interrupted by Riccardo, who declares his love for her and then by Renato. Renato tells Riccardo that there is a conspiracy to kill him. Renato discovers the veiled woman he has agreed to escort to safety is his own wife. He then decides to join the conspirators. At a masked ball, Oscar the page reveals his master’s identity to Renato who stabs Riccardo. Riccardo dies declaring Amelia’s innocence and forgiving his enemies as the crowd hails his noble spirit.

Verdi’s music for Ballo is sophisticated and French Opera Comique with Falstaffian precursors and some real heel kicking can-can type music. Beautiful arias, duets and ensembles bursting with emotion and melody make for a splendid musical  feast.

Tenor José Heredia sang Riccardo (Based on Gustave III) This enchanting tenor from Santo Domingo was in excellent voice and bearing for this performance. Heredia has grown as an artist and his rhapsodic tenor has beauty, ease and upward promise. Bursts of glory prevailed with intelligent pacing and refined legato. His elegant singing of “Amici miei, soldati” and “La rivedrò nell’estaci” were well noted with effortless and powerful ascents.

At Ulrica’s witches den, Riccardo sings “Di’ tu se fedele,” then laughs and starts the Quintet “È scherzo od è follia.” His combining rapid singing mixed with laughter was admirable.  Enrico Caruso, the magnificent tenor, made a recording of this on April 3, 1914 with other arias from Il Ballo – give it a google. Riccardo and Amelia were truly united in their captivating love duet “Non sai tu che se l’anima mia” with swirling heavenly music ending in a rhapsodic high C.

In Act 3 Scene 2, Riccardo resolves to renounce his love and sings, “Ma se m’è forza perderti.” Heredia’s voice was beautifully secure and his middle register was a launching pad for some truly pristine notes. I have heard the great Carlo Bergonzi in this role as well as Luciano Pavarotti but José Heredia makes for a trio of great Riccardo’s. The squillo in his tone, the way he rides his voice to the upper chambers and the pleasing, plangent quality of his vocal palette, puts him is a position of rapid forward momentum toward international acclaim.

Amelia, wife of Renato, is in love with Riccardo and was sung by Elizabeth Perryman who possessed a bright powerful soprano. Her singing of “Ecco l’orrido campo” was of good strong caliber as was “Ma dall’ arido stele divulsa.” Her impassioned outbursts in her love duet with Riccardo, “Non sai tu che se lanima mia” were quite striking. Ms. Perryman sang “Morrò, ma prima in grazia” with abundant tone  and emotional fervor This aria really brings out the soul and torment of Amelia as she begs to see her son one more time. It is one of Verdi’s most compelling arias and she used her vocal gifts with clarity and precision. Ms. Perryman made this reviewer a merryman with her truly outstanding performance.

Renato, Riccardo’s secretary and best friend, was in the vocal treasure box of Robert Garner. Mr. Garner possessed a lyric baritone that can take one out of the commonplace and into the rare with its warmth and seductive beauty. In Act One he sings “Alla vita che l’arride” in a strong encompassing tone, warning Riccardo of a conspiracy. Mr. Garner does not possess a voice of leonine strength but it has ample sound, excellent breath control, strong legato and warmth to kill. His heartfelt singing of “Eri tu” wiped away the rage for the moment and exposed the vulnerable bleeding heart. When I was 13 and surprisingly a baritone, my voice teacher neighbor and mentor Bertha Lang, made me listen to a beautiful recording of the great American Opera and film baritone Lawrence Tibbett. (1896-1960) “Eri tu” was often sung in concert by Tibbett but he never sang it in the complete opera. Mr. Garner captured the rage, hurt and love of Renato and got an ovation.  

Riccardo’s Page Oscar, a trouser role, was sung by clarion voiced coloratura soprano Merrin Lazyan. Her singing of “Volta la terrea” in the first act warmed the heart and thrilled the pulse with its versatility and quality. Her superb and lively singing of “Saper Vorreste” in the last act was super. I googled the legendary soprano Luisa Tetrazzini (1871-1940) whose marvelous gravity defying coloratura excesses were unrivaled. Google her 1909 and 1911 versions. Ms. Lazyan really sparkled in this role. The late great Francis Robinson, Metropolitan Opera press manager and Caruso biographer, once said he  would have loved to see the very rotund Tetrazzini as Oscar with her enormous girth and her legs wrapped in delicate ribbons. Ah, opera legends! Ms. Lazyan was also a fine actress and she gave bite, might and was so right as Oscar.

Ulrica the fortune teller, was played by Sarah Knott who was very striking in appearance and was truly witch like. She was more witch than bitch and her warnings fell on deaf ears. Her large bubbling cauldron led her to singing “Re dell’ abisso affrettati ” which was ominous and all hallows eve like and genuinely scary. Ms. Knott’s deep lows were subterranean as if conjuring the ghost of all things evil. Her final “Silencio!” came from the bowels of the earth as well as the vowels necessary to project. The effect is sheer magic. The legendary Marion Anderson (1897-1993) broke the color barrier at the Metropolitan Opera near the end of her illustrious career by singing Ulrica in Un Il Ballo un Maschera. (With Richard Tucker and Leonard Warren) in 1955. She opened the door for such greats as Leontyne Price, Martina Arroyo and others.

The smaller roles were well portrayed and sung by bassos Nicholas Hay as Samuel and Gennady Vysotsky as Tom, conspirators and enemies of Riccardo. Their “Ha, ha, ha” arias were sung with relish. Jonathan Fox Powers, was Silvano a sailor and former New York City Opera tenor Roger Ohlsen was the Head Judge and skilled  baritone Thomas Geib was Amelia’s butler.

Douglas Martin, conductor and music director, brought the music to volcanic climaxes and heel kicking sensuality. The musicians worked hard and very skillfully to bring out the richness and drama of this score. The melodic output was opera comique and opera drama. Kudos to Jeffrey Kautz on tympani, so vital to the climaxes and our friend Scott Jackson Wiley on the horn. Scott is also a well known conductor, master of Spanish guitar and a Renaissance man.

Susan Morton, chorus master, brought the superb chorus to glory absolute with its full throated singing of “Cor si grande e generoso” before “Addio per sempre” in the last act. I recall the Roger Shaw Chorale in the recorded 1954 Un Ballo by the iconic and magnificent conductor Arturo Toscanini (1867-1957) with the NBC Symphony with famed tenor Jan Peerce, soprano Herva Nelli and great Brooklyn baritone Robert Merrill. The Roger Shaw Chorale brought tears to the eyes with the full voiced angelic sound as did Susan Morton and choristers at the Amore opera.

Nathan Hull’s stage direction was like a great work of architecture; everyone in place with ease, visible and vivid. The wigs by Mary Rice were wondrous.The ingenious  Richard Cerullo from the original Amato Opera was in charge of the scenic design which was regal and ornate but absolutely accurate. The costumes were majestic, courtesy of Anthony Amato’s largesse and Robin Porter Van Sise. Plaudits to Duane Pagano, Lighting Director and Scenic Painter and Elias Cruz whose murals are captivating. The masks at the masquerade were colorful and eye catching, thanks to Allegra Durante’s mask design. The bravos and cheers were part of the era of good feeling inspired by such a grand opera evening.  

All of the artists received ovations from the wildly  appreciative audience. Our friend, financial adviser and opera lover Connie Chen who joined us, will be spending some time in Europe visiting opera in legendary places. To quote her, “But what could I see that is better than the Amore Opera right here and now?”

We congratulated vocal coach Tamie Laurance on the splendid performance of her student/protégé tenor José Heredia. We felt that we were present at the creation.

Here’s to the  next season and bravo to Nathan Hull and all at the amazing Amore opera and of course, Viva Verdi!

New York OperaFest 2019 Festival Preview Concert honoring Ira Siff was presented on the evening of Monday, April 29th at the National Opera Center located at 330 Seventh Avenue in New York City. Vincent Covatto, Senior Manager, Organizational Membership, introduced the program for the evening.

I was exhausted from our being honored the day before by Opera Index and all the activities therein with fans, friends and family. It was also my first day of therapy for a back ailment. I was kvetching and schlepping, whining and complaining ( 4 percent Jewish DNA ) when we sat in our seats. A few hours later I was yacking and munching on goodies like an adrenalin filled teenager. Such is the power of opera, such is the brilliance of Ira Siff.   

The first selection was “Udiste? Come albeggi” from Il Trovatore by Giuseppe Verdi. Alexis Cregger’s impressive soprano with Nathan Matticks’s vibrant baritone, made for a dynamic duo. Count Di Luna and his wannabe-lust for Leonora was dramatically demonstrated in this exciting duet. Ms. Cregger has a voluptuous sound with some gorgeous highs and exciting depth to her voice. Mr. Matticks captured Di Luna’s great love with its insistent manly sound and compelling high notes. We recently saw a brilliant Il Trovatore with the Regina Opera featuring these two special singers in Brooklyn’s Sunset Park at Our Lady of Perpetual Help Church. The vocal hors d’oeuvres was so tantalizing we had to go for the whole meal. Dmitry Glivinsky was the exciting pianist from the Regina Opera.

Next was an Excerpt from Patience and Sarah (Wende Persons/Paula Kimper featuring Katherine Robinson soprano; Markos Simopoulos baritone; Katarina Wilson, mezzo soprano; and Giordana Fiori, pianist. This mood inducing work was a good source for drama and vocal seduction. Katherine Robinson had a lustrous soprano with flexibility and strength, Mr. Simoupolos a manly thrust with sparkle and Katarina Wilson, a sensual mezzo soprano that blended with her vocal physicality. Giordana Fiori who is from Rome, Italy, was ablaze in her red outfit and played piano with intensity and grace. The Hunter Opera Theater had some stellar performers to show us.

“Interlude” from The Impossible She by Daniel Thomas Davis featured baritone Robert Maril and Christopher Wilson on the piano. This fine excerpt was adroitly sung by Robert Maril whose haunting voice surely must be blessed by the late great Brooklyn baritone of Metropolitan Opera fame, Robert Merrill. Christopher Wilson’s pianistic versatility matched this introspective piece which, while not exactly Iago’s credo from Verdi’s Otello, nonetheless had a power all its own. This was from RHYMES WITH OPERA.

Excerpt from The Constitution, A Secular Oratorio by Benjamin Yarmolinsky, was with Nathan Baer, bass and Dmitry Glivinsky on piano. Mr. Baer has a mood provoking, expressive bass with impressive undertones like a rumble of thunder. His Grant Wood countenance sets the mood for this piece, which is retained because of its loneliness and conversational oomph ah like a Lincoln photo. This by Brooklyn’s brilliant Vertical Player Repertory who dazzled the world with its production of Puccini’s IL Tabarro on a barge on the Red Hook pier several years ago.

“Parle-moi de ma mère” from La Tragedie de Carmen was by Meilhac/Bizet. Matthew Pearce, tenor; Lara Secord Haid, soprano; with Jiannan Cheng, on piano of City Lyric Opera. Mr. Pearce has a caressing tenor that is balanced and nuanced. Ms. Haid, a lyrical pure sound of great beauty with angelic high notes that linger in one’s psyche. Her kissing Don José touched one deeply. Their vocal blend was evocative of the greats in the past. His lovely softening of the voice at the end was of golden age quality. Ms. Haid’s love for Don José was present in her outstanding purity of tone. Enrico Caruso and Frances Alda made a recording of this that one can google on the Internet and The Carmen film by Cecil B. DeMille 1915 featured the great Met soprano Geraldine Farrar that deserves viewing. When Farrar came back to the Met after her film, she roughed Enrico Caruso up and punched a chorus girl. Caruso threatened to never sing with her again but they made up. Huge tenor James McCracken was a surprisingly physical Don Jose and used much pianissimo in his “Flower song.” City Lyric Opera deserves high praise for this tantalizing excerpt and wonderful singers.

A brief film of Ira Siff as Mme. Vera Galupe-Borszkh singing Vissi D’arte from Tosca and Ho jo to ho! from Die Walküre was hilarious and breathtaking. I told friends later that the three hands I kissed of great divas was Mary Garden, lecturing on her autobiography at Brooklyn Academy of Music in 1951, Maria Jeritza at 90 plus at a Carnegie Hall Richard Tucker gala and Ira Siff as Mme. Vera Galupe-Borszkh at the National Arts Club after a hilarious Azucena excerpt from Il Trovatore.

Ira Siff gave a witty speech about his wanting to be in opera and the reactions of his mother and father. He did very well and his mother bragged to her friends in Florida poolside when he got good reviews on Mme. Vera Galupe-Borszkh. The New York Opera Awards service award was based on his indelible impact as a performer, commentator, director, teacher and Artistic Director of La Gran Scena.

The concert then resumed with “In peace I have found my image” from Owen Wingrave (Piper/Britten) Robert Balonek, baritone James Landau, piano, of the little Opera theatre of ny gave a powerful piece, almost a soliloquy. Mr. Balonek was Falstaffian in his delivery and versatility and gave us a non brittle Britten that was introspective with a touch of irony. We saw Owen Wingrave and our grandson Luciano was one of four choristers from The Little Church Around the Corner who appeared in this production featuring the gifted Mr. Balonek.

The program ended with an excerpt from After Stonewall with Devony Smith, soprano and Michael Barret on piano from the New York Festival of Song. Ms. Smith sang with conviction, defiance and compassion. Her soprano more steely than Puccinian, her goal not tears, but strength and going forward. Michael Barret was her accommodating and gracious accompanist. From the New York Festival of Song.

Joseph Burke was the effervescent stage manager and we met Vincent Covatto from the Executive Committee in the elevator.

At the sumptuous reception afterwards it was nice to chat with Ira’s partner Hans-Pieter Heijnis whose cabaret act has been so beautifully received. The Flying Dutchman (No Wagner) was brilliantly funny and a new version is set to overtake us soon. Hans-Peter made a wonderful video for Ira’s mother Jean on the occasion of her 100th birthday in 2011. He sang a superb version of “For You Alone,” which was out in 1911 and also was iconic tenor Enrico Caruso’s first recording in English.

A wonderful surprise was to see Francine Garber with her Regina Opera shirt, from the Regina Opera in Brooklyn, soon to be celebrating its 50th year of opera. Nice to see multi-talented and vibrant Judith Barnes from The Vertical Player Repertory in Brooklyn there also. Anna Tonna, a now internationally acclaimed mezzo soprano suddenly popped up into view. Anna has been doing successful Malibran and Rossini concerts in Spain and will sing at the idyllic Marcella Sembrich Museum in Bolton Landing in Lake George this summer. In attendance also was Scott Barnes, the renowned stage director and acting coach and tenor Neil Eddinger from the much missed New York City Opera. We enjoyed speaking to the singers and pianists and to the great man himself, Ira Siff.