Category: Italian -American Heritage

The Gerda Lissner Foundation held its Holiday Celebration at the Liederkranz Foundation in New York City on the afternoon of Sunday, December 2nd. The decorations, Christmas trees, and general decor made all feel the irresistible holiday spirit.The damp, mild rainy weather was banished by the good cheer that permeated the concert room. Gerda Lissner President, the much loved Stephen De Maio returned to the helm and spoke of guests from Sweden and China. He thanked his Board members and trustees; Michael Fornabaio, Karl Michaelis, Barbara Ann Testa, and Cornelia “Conny” Beigel.

Mr. De Maio noted the lucky presence of the accompanist from the Metropolitan Opera, Jonathan Kelly, recognized Mr. & Mrs. Joseph Pfeifer, great supporters of the Gerda Lissner Foundation and introduced our host for the concert, the affable and radiant Midge Woolsey, famous fundraiser and host of PBS. 

Ms. Woolsey spoke of the powerful words of author Rene Brown about the importance of vulnerability being the trigger of creativity. When singers put themselves “out there,” they are vulnerable to the caprices of vocal sniffles and audience caprice.

During a performance of Verdi’s Requiem at Carnegie Hall many years ago, I took some friends backstage and the great Pavarotti came out. He immediately saw my daughter-in-law Bernadette was not smiling. He went up to her and said, “Maybe you no like a my performance?” No? Maybe you no like-a MEEEE!?” She again shyly nodded her denial! When it was picture time he shouted, “find that girl, find that girl!” and proceeded to take a picture with her and himself together. She was then smiling broadly.  My sons James and Marcello were amazed and amused! Then we all posed for a photo with the now happy Luciano Pavarotti!

That is the vulnerability of all artists. They should care about each and every member of the audience. Poor Bernadette, she was just shy! She never knew about how much they care. She does now and always smiles at the memory. 

Ms. Woolsey gave a brief analysis of the scene from La bohème and soprano Sonja Krenek sang “Si, mi chiamano Mimi” from Puccini’s La bohème which premiered in 1896 with the then 28-year-old conductor, Arturo Toscanini. Ms. Krenek is the possessor of a dark impassioned soprano that was both touching and humble. She diminished some tones effectively and moved us all as Puccini would have wished. Her encore was “O Holy Night” by Adolphe Adam which is one of my favorites.  

I remember tenor Frank Parker singing it on an Arthur Godfrey’s Christmas Album in the 1950’s. Parker, a TV favorite”Irish tenor” on the Arthur Godfrey show was Italian. It is the only Christmas song recorded by Enrico Caruso. His 1916 recording in French will give you chills. Ms. Krenek sang it with passion and soul and I have to say, like Bob Hope, “Thanks for the Memories.” Her beautiful red dress made me think of my beloved Sicilian Grandmother Rosalia who always wore red for Christmas Eve.  

Next Piotr Buszewski who sang “La donna e mobile” from Verdi’s Rigoletto. Mr. Buszewski sang in a radiant, clear and flexible tenor with an exciting cadenza, pleasing diminuendos, and a resounding “pen sier” finale. He is a slender, youthful Duke and an irresistible tenor. His white and black jacket made him an updated 20th century Cavalier. His encore “Bóg sic Rodzi” (God is born) by Franciszek Karpinski, was a Polish Christmas offering. Pope John Paul II, I am certain, is watching from above and smiling proudly.
Soprano Meryl Dominguez sang the rhapsodic “Ch’il bel sogno di Doretta” from Puccini’s La Rondine. Ms. Dominguez has a very imposing beautifully colored voice with precision and seemingly endless high notes that soared and took us to the endless corridors of romantic love that existed in Doretta’s vulnerable heart. Her encore was Irving Berlin’s “White Christmas” with the opening verse sung in a rich and evocative loving tone with a golden thread of longing. 

Pascal Spinney, mezzo soprano sang “La Séguedille” from Bizet’s Carmen. Not since American soprano and silent film star Geraldine Farrar whose 1915 film (Cecil B. DeMille) Carmen was sensuality itself, have I seen so strong a presence of Tyrannosaurus Carmencita-a real man-eater who makes mush of poor Don Jose. Ms. Spinney who is also a dance award recipient was able to illustrate enough sex appeal and sing it with lusty luscious abandon. It’s like Carmen could not help how she felt. All she needed was a pet praying mantis. Her final note strongly hit and flamboyantly tossed away was evocative of Don Jose’s fate. Ms. Spinney’s delightful encore was “Santa Baby” written by by Joan Javits and Philip Springer (Joan is a relative of former Senator Jacob Javits) My wife Judy and I saw Eartha Kitt singing “Santa Baby” in Tivoli Gardens in Denmark circa 1966 and this performance really brought it back in full vibrant force. Santa come down the chimney tonight! Brava! 

When I saw the dazzling pianist Jonathan Kelly playing this number, I felt like I was watching Cole Porter and soprano Rosa Ponselle at some fabulous 1930’s Christmas gathering.

Baritone Xiaomeng Zhang, sang “Onegin’s aria” from Tchaikovsky’s Eugene Onegin. His large vibrant baritone and excellent Russian diction showed the palette of vocal wonders that lay ahead for this outstanding singer. The combative nature of Onegin was expressed in a reflective way that did not demonize him. Bursts of power flooded the room in this display of what should be a very strong interpreter of this role. Mr. Zhang then sang “Over the Snow for Wintersweet Flowers,” a Chinese winter song by Xuean Liu that was sung with tender abandon. With the recent passing of the great Dmitri Hvorostovsky, we feel the blessings from Opera Heaven with Dmitri nudging and encouraging future singers of Eugene Onegin. I am certain he smiled and gave Xiaomeng Zhang a nod and a blessing. 

The singers received much applause and bravos and piano virtuoso accompanist Jonathan Kelly also received much applause for his pianistic accompaniment which was perfection itself! Midge Woolsey’s enthusiasm and love of her subject made us all privy to something precious. 

When the concert was over, we went to the dining room for a superb Filet Mignon dinner. It was nice to see so many friends and Ken Benson opera manager with baritone Takaoki Onishi who just won the Dmitri Hvorostovsky prize. “Lissnerites” enjoying this special tribute to a wonderful Yuletide, Hannukah and New Year!  

We thank Midge Woolsey, Stephen De Maio and his sister esteemed New Jersey educator Marie, Michael Fornabaio, Barbara Ann Testa, Karl Michaelis, Cornelia “Conny” Beigel. Philipp Haberbauer, the General Manager at The Liederkranz Foundation did a marvelous job of making us all feel welcome. 

The Gerda Lissner Foundation in association with the Liederkranz Foundation presented the 2018 Lieder/Song Vocal Competition Winners Concert. The event was held on Friday, November 2nd at the Liederkranz Foundation in New York City. The Gerda Lissner Foundation has long been a source of assistance and scholarships for young talented singers. Stephen De Maio President, Michael Fornabaio Vice President and Treasurer, Cornelia Beigel Secretary and Trustee, and Karl Michaelis and Barbara Ann Testa, Trustees who are a part of opera history. Steve De Maio introduced host Midge Woolsey and he received much applause after several months absence. Steve also introduced the gifted accompanist Arlene Shrut.

Midge Woolsey, looking exuberant and joyful introduced the first singer, soprano Helena Brown, who sang “Hat dich die Liebe berührt” (If love has affected you) with depth from the heights with her beguiling serpentine soprano which envelopes the listener with its depth, richness, and power. She seemed equally at home in the upper and lower registers of her voice and this enhanced the text as smoothly as a trip at dusk on Schroon Lake in autumn. Ms. Brown can sing either Aida or Amneris – or both – lie in waiting for this talented young lady. She is versatile and has real style!  

Amanda Lynn Bottoms, mezzo soprano tugged at the heartstrings with “Kdyz mne stará matka zpívat ucívala” (“Songs my Mother taught me”) by Antonín Dvorák. Ms. Bottoms sang with such emotion following the rhythm of this song without overt sobbing, one could hear the passion and conviction in her tone. Many years ago my mother-in-law, Regina Zigman bought me a gift – it was an LP of legendary Spanish soprano Victoria de los Angeles. One of her selections was “Songs my Mother taught me.” It always brought tears to my eyes.”Ms. de los Angeles had a special poignant quality that Amanda Lynn Bottoms brought back with her lovely rendition.

Next was Rebecca Farley whose radiant soprano sang “Apparition” by Claude Debussy. Ms. Farley has a beautiful upper register, exotic tonality and an inner spirit that can lead to unlimited possibilities.

Alice Chung mezzo-soprano sang “George” by William Bolcom. Judy and I saw Bolcom’s passionate opera A View from the Bridge at the enterprising Vertical Player Repertory opera in their Court Street loft in Cobble Hill, Brooklyn. Ms. Chung sang it with insouciance, whimsical tone, good humor, strong dialogue, power and passion and carried us all away with this bedazzling piece wanting us all to hear more!  

Christine Lyons used her captivating soprano and sang this familiar song “Ständchen” by Franz Schubert with freshness, sentiment and a sprinkling of vocal stardust. The great Danish heldentenor Lauritz Melchior sang this to Esther Williams in the MGM musical Thrill of a Romance in 1944. It is so tender and melodic that it resonates in my mind from that film for over 70 years. Ms. Lyons has a rare power of expression plus a lustrous soprano that should carry her far.

Part Two of the program began with baritone Xiaomeng Zhang from Shanghai, who sang “An die Leier” by Franz Schubert with an abundance of beautiful tone and whetted the appetite for more Schubert.

Tenor Dashuai Chen was introduced by the exuberant Midge Woolsey by his choice of singing an ITALIAN song, the well-known tenor selection “Mattinata” (“Morning”) written for Enrico Caruso by Ruggiero Leoncavallo, the composer of Pagliacci. Caruso made a recording of it with the composer at the piano on April 8, 1904, in Milan, and practically every tenor has sung it since. Ferruccio Tagliavini (1913-1995) made a heavenly recording of it in the early 1950’s and on the Voice of Firestone on early television. Tagliavini had a sweet lyric tenor and a resourceful top. Such songs as “Anema e Core” and countless others dazzled the public. I saw him at his return to the Metropolitan Opera in 1962 in an enchanting La Bohème and Elisir d’amore plus a concert at the Brooklyn Academy of Music. These legendary and iconic singers had instantly recognizable voices and personalities that endeared them to the public. That is what we hope for with this new group of talented singers. Mr. Chen sang in a delightful tenor with an Italianate edge emphasizing the high tenor notes that rang freely through the room. In Thrill of a Romance. MGM introduced Lauritz Melchior to its film audience with his face singing a few bars of “Mattinata.” Mr. Chen will not be forgotten since he was one of the great highlights of the evening. As recommended by Midge Woolsey, I googled Joan Sutherland and heard her, a woman, sing a brilliant and delightful “Mattinata” – thank you Midge!

Baritone Justin Austin sang “Pace non Trovo” by Franz Liszt. Liszt was always torn between the boudoir and the monks robes and had a lot of passion in his works.” I find no peace” was the inner theme of this selection. A combination of brilliance and despair that had us mesmerized. Justin Austin is a singer of strength and passion. The brilliant accompaniment of pianist Arlene Shrut was the beat of Mr. Austin’s heart. Midge Woolsey, our radiant host exclaimed, “if I could ever be another person, I would be Arlene Shrut!” We second the motion, brava Arlene Shrut!

Hubert Zapiór, Polish baritone, winner of the Gerda Lissner award for 2018 sang a song written by Polish patriot, President, and piano virtuoso “Polaly sie lzy me czyste” by Jan Paderewski. Mr. Zapiór is a baritone with strong high notes and a vocally congenial physicality. His voice was reassuring in its versatility from thrilling highs to burnished lows. I thought of the great Polish bass baritone Adamo Didur who sang during Caruso’s time. Google his “La Colunnia” also Google soprano Marcella Sembrich whose museum near Lake George at Bolton Landing will fill you with Polish opera pride.

I was happy to be seated next to the MetOpera legend mezzo Rosalind Elias, who offered me a mint when something had me coughing. Thank you so much! We also saw Gloria Gari and Lud Mayleas from the Giulio Gari Foundation, Jane Shaulis, Joseph Gasperec, Murray Rosenthal and Philip Hagemann, all from Opera Index; Maestros Eve Queler and Per Brevig with his wife Berit, Export consultant Michèle and Anthony Classe, Alfred and Christine Palladino from the Columbus Club, Deborah Surdi, from the Martina Arroyo Foundation, Glenn Morton from Classic Lyric Arts, Brian Hunter from the Musicians Club of New York, Diana Corto from International Concerts, sculptor Dionisio Cimarelli, Don DiGrazia formerly from the Metropolitan Opera Tickets with wife Chee, and opera lovers Emily Hsiung and Reiko Osumi.

The delicious finger foods and wines were sumptuous and we returned to Brooklyn with happy musical memories. It was probably a taxi like vehicle but it was a brightly lit magical pumpkin taking us home from the ball!

On Monday, August 14th, a special Requiem Mass was held for Metropolitan Opera soprano Licia Albanese who passed away at the age of 105 on this date three years ago. She was born in Bari, Italy on July 22nd 1909 and later became a solid patriotic U.S. citizen. On August 14th, the third anniversary of her passing, a special requiem mass and luncheon hosted by devoted friends and admirers Cesare Santeramo and Dr. Robert J. Campbell was held. Mme. Albanese was remembered and lauded for her great artistry and the warmth of her friendship.

The Rev. John Kamas spoke eloquently of Licia Albanese at the Mass which was held at St. Jean Baptiste Roman Catholic Church on East 76th Street and Lexington Avenue in New York City. Kosovo tenor Riad Ymeri sang “Panis Angelicus” in a sweet, clear and moving way. Baritone Mark Watson sang a thrilling “I’ll Walk with God” (Brodsky) from the film The Student Prince made famous by tenor Mario Lanza. (Lanza appeared with Licia Albanese in the film Serenade.) The organist led the singers and all to give inspired performances. The priests were all moved by this special tribute to a great singer and devout parishioner. There are many citizens from Bari in Carroll Gardens Brooklyn affiliated with Sacred Hearts-St. Stephens Church and the Van Westerhout Cittadini Molesi Cultural Sport and Social Club. Niccolò Van Westerhout was a 19th century composer born in Bari but whose family was Flemish. Licia Albanese was well known and loved by “Barese” everywhere.

The delicious luncheon at nearby Orsay restaurant included patrons and friends of Licia Albanese: Holocaust author and pacifist Luna Kaufmann, Sachi Liebergesell, President of the Licia Albanese-Puccini Foundation, Father(Pastor) John Kamas from St. Jean Baptiste Church, tenor Cavaliere Cesare Santeramo, Dr. Robert J. Campbell, Joy Ferro vocal teacher, former Metropolitan Opera great and lead dramatic soprano Elinor Ross, legendary Met Opera mezzo Rosalind Elias and opera coach Corradina and Maurice Caporello. It was an afternoon of brilliant conversation and warm remembrance. We all had incomparable memories of Licia Albanese both as an artist (lead soprano at the Metropolitan Opera from 1940-1966) and a devoted and loving friend. I recalled my appearance with her on television in a tribute to tenor Mario Lanza on the Joe Franklin TV show and her frequent visits to the Enrico Caruso Museum in Brooklyn where Commendatore Aldo Mancusi named his mini theatre after her and publisher Michael Sisca. Judy and I remember her playing a vigorous game of bocce at her beloved patron and friend Louise Peluso’s home and gardens in Bayville, Long Island.

We thank our much honored hosts Cavaliere Cesare Santeramo and Dr. Robert J. Campbell for their making this event so special. Cavaliere Santeramo who sang Alfredo to Licia Albanese’s  Violetta in La Traviata for the New Jersey Opera, suggested a future Verdi requiem as a “fund raiser” for Father Kamas’s beautiful St. Jean Baptiste Church where Licia Albanese worshiped and had her funeral mass.

The following day was the great feast of Ferragosto. Licia Albanese passed away on the cusp of the Virgin Mary’s ascension into heaven. I am certain Licia had an EZ pass and is now with the celestial voices.

 

 

 

On the afternoon of Sunday, September 24th, The Giulio Gari Foundation presented in concert the 2017 winners of the International Vocal Competition at the elegant New York Athletic Club on Central Park South.

After greetings from Stephen De Maio, Artistic Advisor and Chairman of the Board Gloria Gari, the program began. Our host of the evening was the brilliant much missed Brian Kellow who was greeted with cheers by his many admirers. Many “stars” of the operatic heavens were present. Former Metropolitan Opera legends dramatic soprano Elinor Ross and mezzo soprano Rosalind Elias, New York City Opera and NBC Opera star Elaine Malbin are always there to show support for the new generation on the ascendancy. I also chatted with charming guest Maria Natale whose radiant soprano and stunning appearance won plaudits in Portland, Maine as Violetta in La Traviata.

The concert began with “Nemico della patria” from Giordano’s Andrea Chénier sung by baritone Jaeman Yoon. Yoon did not just croon a tune but gave a robust erupting volcano concept of this dynamic showpiece. A little more shading and contrast would have given it the Italianate flavor it lacked.The voice itself is healthy and the strong  potential is there. A touch of salt, pepper and oregano will make it the savory mix it soon will be. Patrons Mr. and Mrs. Frank De Rosa presented the award.

A lighter Bizet was served with the duet “Au fond du temple saint” from The Pearl Fishers. Marco Cammarota, tenor and Kidon Choi, baritone were a strong blend in this pledge of friendship duet. Mr. Cammarota belted the top notes in a heroic manner and Mr. Choi sang strongly and this iconic duet went from the lyrical commonplace into the rare with the exciting tenorial trumpet and a visceral victory for true bonhomie. The award was presented by Dr. Barry Schenk and the fashionable Joyce Greenberg.

Soprano Nicolette Mavroleon sang “Depuis le jour” from Charpentier’s Louise. This aria is a glittering showpiece and from the legendary sopranos Mary Garden, Grace Moore and countless others and is a test of vocal endurance. Ms. Mavroleon sang some stunning stratospheric highs and gave a virtually flawless performance of this captivating aria. The composer Charpentier wrote a sequel to Louise called Julien. Immortal tenor Enrico Caruso courted his American wife Dorothy in his Julien costume. (1918) We look forward to hearing Ms. Mavroleon soon. She is of Greek descent like Maria Callas and generates a special magic! Her award was given by the Max Kade Foundation, Dr. Lya Friedrich Pfeifer, President.

“Non più mesta” from Rossini’s Cenerentola was sung by rising mezzo soprano Corrie Stallings. Ms. Stallings possesses a bright silvery voice with expressive and expansive plenitude of sound, dexterity and flexibility so necessary in producing coloratura flow and ease and gave an exciting and generous performance. Only a few feet from the stage was honored guest, famed iconic mezzo Joyce DiDonato who smiled at Ms. Stallings and whose eyes sparkled with loving encouragement and support. To me, this was a defining moment and a wonderful one! The award was presented by the Florence Belsky Charitable Fund, Dan Schneider Esq.

Back to Bizet with “Je crois entendre encore” from The Pearl Fishers sung by tenor Fanyong Du. A very early Caruso recording of this haunting aria (Circa 1904) was heard on the sound track of Woody Allen’s film Matchpoint. It has been a favorite of lyric tenors and Beniamino Gigli’s magical recording also stands out. Fanyong Du has all he ingredients to do this exotic and delicate aria justice. His tapering of the aria, his lingering on a finely spun phrase earned him the applause of the gods above and the audience below. The award was given by The Lissner Charitable Fund by the ever impeccable Karl Michaelis.

The concert ended with Maria Brea singing “Chi il bel Sogno” from the bittersweet operetta La Rondine by Giacomo Puccini. Ms. Brea possesses a strong caressing coloratura soprano that soars heavenward like a flock of white doves. Her nicely placed top voice sings with sparkling ease, fresh and youthful making us all feel the inner yearning for true love. Ms. Brea’s award was presented by the Max Kade Foundation, Dr. Lya Friedrich Pfeifer, President.

The guests of honor included special awards for mezzo soprano Joyce DiDonato, soprano Angela Meade who had another engagement and was not there and rapidly rising dramatic tenor Issachah Savage. The indefatigable Brian Kellow introduced the special guests all of whom spoke with gratitude for such organizations and how many young singers got their start because of such help and support. Mr. Savage was accompanied by his petite and enchanting wife Shana. It was nice to see him singing along softly from the audience savoring every word.

The superb pianists were Arlene Shrut, whose peerless and fearless playing gives the feel of a full orchestra and Jonathan Kelly, who also becomes as one with the singers. (Courtesy of the Metropolitan Opera)

Famed and in demand opera lecturer Lou Barrella did a presentation in praise of tenor Giulio Gari including Gari’s glorious singing of “Amor ti Vieta” from Fedora and his singing of “The Lord’s Prayer.” There was also a video of praise by soprano Lucia Evangelista and other luminaries of tenor Giulio Gari (1909-1994) who sang at New York City Opera (1945-53) and the Metropolitan Opera (1953-61) and was also a much respected vocal teacher. His wife, the much loved Gloria Gari carries his torch proudly with the organization that bears his honored name along with their daughter Gayle Gari Cohen and her husband Paul E. Cohen and the Board of Directors. Their son, the late deeply loved Glen Gary is always present in gallant spirit.

The reception and dinner afterwards afforded us the opportunity to “meet and greet” so many friends and fellow music lovers. From Opera Index, MetOpera mezzo Jane Shaulis and Joe Gasperec, Murray Rosenthal, Philip Hagemann, and Janet Stovin; opera coach and writer Scott Barnes, Sachi Liebergesell from the Liebergesell Foundation, opera manager Ken Benson, conductor Jan Wnek and tenor Keith Johnson. At our table were Michael Fornabaio from The Gerda Lissner Foundation, Maestro Eve Queler from the Opera Orchestra of New York, Robert Lombardo esteemed vocal coach, and banker financiers Joseph Sedillo and John Lawrence. We saw the ever vibrant civic leader and patron Betty Cooper Wallerstein, effervescent basso Gary Kendall, Bill Ronayne from The Mario Lanza Society located in Brooklyn and poet, Cav. Edward Jackson, Ph.D was his ebullient self. Stephen De Maio stopped by to greet our table and said that he was very surprised about three sections of praise he received in the wonderful program booklet. Mr. De Maio deserves every bit of praise for his extraordinary efforts on behalf of young singers as President of the Gerda Lissner Foundation and his work on so many others. It was nice to see Steve’s charming sister Marie De Maio, an iconic New Jersey educator for over 50 years, energetic secretary and facto tum Cornelia Beigel of the Gerda Lissner Foundation, joyful soprano Barbara Ann Testa and magnetic legendary soprano Diana Soviero, whose sublime Suor Angelica at the Met Opera still surges in my minds eye and heart. At the end of the presentation, Board member Donald Levine gave an impassioned plea for all to work together to strengthen opportunities for young singers in the opera world.

This was truly “an affair to remember.” Thank you Gloria Gari for your indestructible spirit! Judy and I are always proud to be your representatives from Brooklyn. The love you give comes back many fold. Bravo to The Giulio Gari Foundation.

 

 

 

On the afternoon of Sunday, July 9th at the Kaye Playhouse at Hunter College, the 600 plus audience was treated to two gems from Giacomo Puccini’s Il Trittico. Suor Angelica provided the tears and Gianni Schicchi the laughter. Il Trittico premiered at the Metropolitan Opera in New York City on December 14, 1918 to mixed acclaim but Gianni Schicchi was highly praised. Il Tabarro and Suor Angelica have come up from behind and have also earned praise as the masterpieces they are.

Acclaimed Metropolitan Opera (Met) tenor Richard Leech lauded the vision, talent and passion of the young singers and the importance of those who help support the Martina Arroyo Foundation. The young awardees are given an intensive six weeks of training and voice and stagecraft lessons as well as a stipend. They are then presented in opera, fully costumed with orchestra and fully staged before an audience at the Danny Kaye/Sylvia Fine Kaye Playhouse (Named after the immortal Brooklyn comedian and humanitarian and his lyricist/composer wife) as part of Prelude to Performance of the Martina Arroyo Foundation. Mr. Leech quoted from Molière, “Of all the voices known to man, opera is the most expensive.” Maestro  Willie Anthony Waters lifted his baton as conductor and the magic began, with the simple setting of a fountain, a statue of the Virgin Mary, a flower garden and the nuns. Artful in its simplicity, the nuns evoked innocence and devotion. The story takes place in the convent courtyard in Italy in the late 1600’s.

The whispering among the nuns said that Suor Angelica had come from a wealthy family and was sent to the convent seven years ago. She became the pharmacist and her herbs and potent potables were of value to her fellow sisters at the convent. A visitor arrives and word spreads that the visitor was a lady in a royal coach with a family crest. The Mother Superior sends for Suor Angelica and tells her that her Aunt, the Princess, wants to speak to her. Angelica and La Zia Principessa are given time and privacy in the Virgin’s chapel. The Aunt wants Suor Angelica to sign over her share of the property because Angelica’s youngest sister Anna Viola is getting married. Suor Angelica then asks how her young son (born out of wedlock) is. Zia tells her that he died of a fever two years earlier. Angelica screams and falls in a faint. Zia Principessa turns her back and prays. Angelica is bereft, signs the deed and Zia leaves.

Angelica mixes a poison potion for herself and drinks it but regretting her suicide prays for forgiveness. The Virgin statue glows, the stars in the heavens shine brightly, as Angelica’s child appears and welcomes her to heaven.

Michelle Johnson was Suor Angelica. Ms. Johnson’s acting was stretched to the limits but was never overdone. Her emotions were imploding and exploding yet with a sense of humility that touched the heart and tear ducts. Ms. Johnson’s exquisite singing of “Senza Mamma” had the true essence of an Italian soprano with generous volume and a  heartrending outpouring of glorious sound. Ms. Johnson hit the final note “Amore” in a  mezza voce and held it until it became a golden thread to paradise. Suor Angelica’s child (Akari Wientzen) walking towards her with arms outstretched in her final moments was indelible. The composer Puccini, whose sister was a nun, would have savored this moment, and I am certain he applauded from his domain in heaven.The touching libretto was by Giovacchino Forzano.

La Zia Principessa was stunningly sung by Leah Marie de Gruyl whose dark penetrating mezzo and stone cold persona left a chill in the room. La Zia had the righteous might of the old testament but none of the mercy of the new! She could not forgive nor forget Suor Angelica’s transgression and the family disgrace. Once she turned to comfort but recoiled, she was incapable of doing so.

Melanie Ashkar had the proper balance of sternness and compassion as La Maestra delle Novizia. Her flexible  warm mezzo soprano was a perfect barometer for her character and assigned duties.

Molly Burke, Jenna Buck, Renée Richardson, Crystal Glen, Nicole Rowe, Yulan Piao, Amy Guarino, Wan Zhao, Hilary Hei Lee Law and Maria Zollo rounded out the ensemble and sang and acted with heavenly perfection. Their singing with the chorus of “Regina Verginum, Salve Maria” was truly the beacon to heaven’s door.

The second portion of the evening was the brilliant comedy Gianni Schicchi with a libretto also by Giovacchino Forzano. The story takes place in Florence, Italy in the year 1299.

In the middle of their mourning the death of their wealthy relative, Buoso Donati, his greedy relatives hear gossip suggesting that he has left all of his possessions to the monks of the order of Saint Reparata. Rinuccio suggests that they hire Gianni Schicchi, despised newcomer to Florence who knows the law, be chosen to help them get the money. Rinuccio is in love with Lauretta, Schicchi’s daughter. Rinuccio sings “Fiorenza come un albero fiorito.” Spencer Hamlin’s brilliant tenor rang out on the top notes ending with the name of “Gianni Schicchi” with fervor!

The wily Schicchi pretends to be the still dying Buoso. Before playing his role, he tells the family that to lie with wills means getting your hand chopped off and banishment from Florence. “Primo un divertimento” was robustly sung.” Schicchi indeed gives some property to family members but he leaves the main home, mules and grounds to himself waving his sleeveless hand at them whenever they protested. It ends with the greedy family leaving after attacking the house and the young lovers happily singing a love duet “Lauretta mia, staremo sempre qui” with the city of Florence in full view. Hamlin’s vibrant tenor and Ms. Whiteway’s lovely soprano soared ecstatically. Schicchi then addresses the audience that even if he goes to hell (As Dante placed him) that it was worth it!

Joshua DeVane was an excellent Gianni Schicchi and he used his warm vibrant baritone and expressive acting to the fullest. He truly relished the part!

Lauretta was in the pretty and perky package of Anna Adrian Whiteway and her singing of the iconic “O mio babbino caro” was enchanting. Ms. Whiteway’s charming soprano has a pungent fullness that made all eyes and ears, hers!

Steven Mo Hanan was the dead Buoso and was remarkably funny with his Buster Keaton deadpan schtick!

The versatile Leah Marie de Gruyl was hilarious as Zita. Ms. de Gruyl’s amber dark mezzo has all the colors of the rainbow replete with a pot of gold!

Vincent Grana was excellent as Simone, oldest relative and the former Mayor of Fucecchio. His plangent bass-baritone and comedic gestures were truly evocative of the Italian theatre.

All of the “grieving” greedy relatives were sung and acted with aplomb including Melanie Ashkcar as La Ciesca, Nicholas LaGesse as Marco, Nicole Rowe as Nella, Hao Hu as Gherardo, Frida Werner as Gerardino, Karl Buttermann as Betto, while dual roles were played by Ben Reisinger as Spinellooccio and Notaio and Charles Carter as Pinellino and Guccio.

Maestro Willie Anthony Waters conducted the 30 splendid orchestra musicians in a performance that was perfection from the ascending majesty of Suor Angelica to the brassy, brilliant and modernistic insouciance of Gianni Schicchi. The versatile  chorus rose to heavenly heights in Suor Angelica and captivated throughout and in Gianni Schicchi as well.

Ian Campbell’s stage direction was perfect from the calm of the convent to the merry mayhem of Gianni Schicchi!

Charles Caine’s costumes were comforting in the convent and colorful in Gianni Schicchi and brilliantly brought out two aspects of life in Italy centuries ago.

Steven Horak’s wig and make up were colorful, garish when needed and versatile. Even the dead had lustre!

Plaudits to Joshua Rose, set and lighting designer. The glowing Virgin statue still glows in memory!

The audience stood up as one and cheered to the rafters for both operas and both casts bathed in the glow of the ovations for the final bow. Opera lovers who witnessed these superb performances did better than if they flew to Milan to the opera house at La Scala. New York City and the Kaye Playhouse was the place to be for opera at its finest. No “updates,” “no nonsense,” (nunsense) – just wonderful  opera as the composer intended it to be.

It was nice to see friends from the Martina Arroyo Foundation, Met Verdi baritone and Administrative Director Mark Rucker and his wife and accompanist Sadie, Publicity, and Norena Barbella, Development Consultant, as well as many friends from Opera Index, The Gerda Lissner Foundation and others. There was a special memorial page for the much loved and invaluable recently deceased coach and accompanist Joan Krueger.

It was a joy to witness two incomparable performances of Puccini at his best in Prelude to Performance. The indomitable spirit of our guiding light, Martina Arroyo prevails. She is our everything and to witness this type of thrilling performance by these future stars nurtured by the Martina Arroyo Foundation makes us all ennobled and elevates humankind with the beauty and the art of opera! A “toast” to Martina Arroyo and all involved in Prelude to Performance. Here’s to Prelude to Performance 2018!

We look forward to the Martina Arroyo Gala at the J.W. Marriott Essex House on Monday, November 13th when Met opera’s great basso James Morris and promising soprano Ailyn Perez and Broadway legends, Chita Rivera and Tommy Tune will be honored!

On the evening of Friday, June 9th at the Church of the Transfiguration (also known as The Little Church Around the Corner) on 29th Street in New York City, there was a performance of Modern Masterpieces, a memorial concert to Arnold Schwartz (1905-1979), patron and benefactor. Schwartz was born in Brooklyn and together with his wife Marie were acclaimed for their generous donations to the arts. The magnificent church organ was donated by his wife and named in his memory.

Dr. Claudia Dumschat, organist and music director of the Church of the transfiguration, planned a most ambitious and enlightening program for this concert, which included the Transfiguration Choir of Men and Boys, Girls Choir and Camerata plus the excellent Transfiguration Instrumental Ensemble, consisting of Joy Plaisted on the harp, James Kennerley at the organ and Jared Soldiviero on the timpani. The great conductor composer Leonard Bernstein (1918-1990) worked with the Transfiguration Boys Choir in 1961. At that time, the choir sang and traveled extensively with some of the musical giants of that era.

Opening remarks were made by the newly appointed and youthful Rev. Father John David van Dooren. Father van Dooren, a man who cherishes the importance of music and culture in our lives, cordially welcomed one and all to this musical celebration. The program opened with “Rejoice in the Lamb” by British composer Benjamin Britten (1913-1976) is based on the poem “Jubilate Agno” by Christopher Smart, who was a mad poet often institutionalized. This poem is about cat and mouse. “My Cat Jeoffry” – a precursor to “Cats”? The libretto rejoices in the beauty of his cat Jeoffry and his female mouse and all of creation. “Rejoice in the lamb” was sung by Enlun Yin soprano, Joe Redd alto, Ben Thomas tenor and Alan Henriquez baritone, accompanied by the Transfiguration Choir of Men and Boys, and made for a delightful treat to Britten’s haunting, unique and flowing output.

Three Ave Maria settings followed. Everyone is familiar with Ave Maria by Franz Schubert or the Bach-Gounod transcriptions by Leopold Stokowski, but there are many others. Enrico Caruso recorded an Ave Maria by Percy Kahn in 1913 with Mischa Elman on the violin. Giuseppe Verdi composed a beautiful Ave Maria for Desdemona in his late masterpiece “Otello” (1887).

Vladimir Vavilov, using notes supposedly from Giulio Caccini (1551-1616), wrote an Ave Maria in 1970 of poignant tranquility. Composer Bill Heigen, who sang with the Choir years ago, wrote an Ave Maria. The Transfiguration Girls Choir sang this with great reverence. The soft singing made one look at the beautiful grotto in the church devoted to Mary. Heigen dedicated this piece to the choir. The Ave Maria by Franz Beibl rounded out this trio, sung “a capella” by the gentlemen of the choir in a robust, solemn and praiseworthy manner, evoking the a capella group “All The Kings Men”. Ms.Claudia Dumschat led these ascending prayers with a steady hand. The harp of Joy Plaisted made the earthbound audience become heaven bound and on the side of the angels.

The second part of the program began with soprano Sara Paar accompanied on the piano by Anabelinda de Castro in a series of Leonard Bernstein songs entitled “I Hate Music!”. In “My Name is Barbara,” a little girl seeks recognition despite her young age, saucily and defiantly sung in a strong soubrette soprano. “Jupiter Has Seven Moons,” “I Hate Music” and “I’m a Person Too” are some of the sprightly tunes that evoked the insouciance of “I Feel Pretty” from Bernstein’s masterpiece West Side Story. Ms. Paar, will be without peer in such roles as Nannetta in Verdi’s Falstaff and other roles in the lyric repertory. Ms. Paar is both beguiling and enchanting! Anabelinda de Castro was her sprightly and dexterous accompanist.

Joe Redd, alto, sang “A Simple Song” from Bernstein’s “Mass” which was written to honor the slain President John F. Kennedy, whose birth centenary we celebrate this year. Mr. Redd has a warm amber quality to his flexible voice and he negotiated the vocal terrain smoothly.

In early December 1963, Leonard Bernstein received a letter from the Very Reverend Walter H. Hussey, Dean of the Cathedral in Chichester in Sussex, England requesting a composition for the Cathedral’s 1965 music festival involving the setting of Psalm Two, answering the question “why do the nations rage?” From the time of Chichester Psalms sold out world premiere at Philharmonic Hall in New York City on July 15th, 1965, it was apparent that Bernstein had created a magically unique blend of biblical Hebrew verse and Christian choral tradition – a musical depiction of the composer’s hope for brotherhood and peace. From “Make a Joyful Noise Unto the Lord” to “The Lord is My Shepard,” this piece, both jazzy and traditional, has old-fashioned sweetness and more than a touch of brashness.

Chichester Psalms is more akin to Carl Orff’s Carmina Burana than to Verdi’s Requiem, yet like a pigeon and a dinosaur, they are part of the evolution of musical sound. The singers were Luciano Pantano treble, Christina Kay soprano, Tessoro Estrella soprano, Joe Redd alto, Ben Thomas tenor and Alan Henriquez baritone. All of them worked so hard to make it look easy. My grandson Luciano Pantano used his boy treble fearlessly and his voice rang out loud and clear in his solo as he sang in Hebrew in Chichester Psalms – Movement 11 (Psalm 23 and 2:1-4). We are very proud of him and his sister Leeza, who sings in the Girls Choir and is also a treble.

Dr. Claudia Dumschat was truly the Maestro Supreme, conjuring up all the power and majesty of this great work. The superb organist James Kennerley made his instrument sing and soar! I thought of the great Dr. Albert Schweitzer (1875-1965) playing his organ in the jungles of Lambaréné in Gabon, Africa on his mission to humanity. Joy Plaisted on the heavenly harp brought back memories of our mutual friend, the late beloved harp master Dulcie Barlow.

Chichester Psalms is a work of gentle fierceness and a plea for peace. It combines the old testament of righteousness and the new, of mercy. Leonard Bernstein is buried not far from our home in Greenwood Cemetery in Brooklyn. It is said that when Bernstein’s funeral procession arrived for the burial, the working crews in the streets of Brooklyn applauded in tribute. The large audience also applauded this work from Leonard Bernstein.

The reception afterwards in the courtyard ensured us of good conversation, food and libation. We were happy to “meet and greet” Dr. Claudia Dumschat, Rev. Father John David van Dooren, who expressed his enthusiasm for such evenings as this, Stage Director (Amahl) Richard Olson, the singers, musicians and all. Our son Marcello, his wife Tatyana, her parents from Omsk, Russia, Nikolay and Lubov Klitsenko were all there to listen and reap praise. Nikolay is a bayan (Russian accordion) master, Lubov, a choral director at their school in Russia, and their daughter Tatyana was also a chorus conductor. Our son Marcello plays the drums, my wife Judy sang in school choirs and I was “The Boy Caruso of Brooklyn”- is it any wonder there’s a song in our hearts?

On the grave of the great English American Maestro Leopold Stokowski, a Bach expert and pioneer of American music (1882-1977) (Fantasia), is the inscription “Music is the Voice of the All.” Some thought this might have been a misprint but Maestro Stokowski, whose long career began at St. Bartholomew Church in 1905 as an organist and choirmaster in New York, is correct. It was something he would have thought universal and proper.

We all applaud Maestro Dr. Claudia Dumschat, music director and organist, for this special splendid evening on a warm, balmy June night and thank her for reminding us so magnificently that “music IS the voice of the all”!

 

Once upon a time, lets say 1953, they had television executives who wanted to bring culture to a wider audience in America. “General” David  Sarnoff and Samuel Chotzinoff were two cases in point. In 1937, David Sarnoff created an orchestra to lure the just retired great conductor Arturo Toscanini (1867-1957). Toscanini then led the orchestra in a series of broadcasts and telecasts for the next 17 years. (1937-1954)

The NBC Opera was also formed to promote great operas in English. Their first telecast was Amahl and the Night Visitors composed by Gian-Carlo Menotti for television and the NBC Opera. It was an enormous success when performed on December 24,1951. Other operas were Madama Butterfly, Salome and a host of others. The NBC Opera toured America but was disbanded after a few years.

Today most television producers and executives get as glazed as a dunkin’ donut when anything that is not “hip hop “or rock is mentioned. Most opera productions allow outrageous “updates” and violence to fill their coffers if not the house with the tattoo and nose pierced sets. Anything sentimental or traditional is scoffed at or is not considered politically  correct! What a pity because I believe that even the most hard hearted skeptic could not weep at the dilemma of poor Sister Angelica.

The great composer and man of the theater, Giacomo Puccini had a sister who was a nun. The Puccini family were church organists and composers for generations. Suor Angelica was written in 1918 as part of Il Trittico a series of three short operas. Il Tabarro is a dramatic love triangle tragedy, Suor Angelica initially dismissed as a “weak” piece and the delightful comedy Gianni Schicchi. Suor Angelica has come up from behind and is gaining new admirers for its musical elegance and overwhelming drama.

On the afternoon of Sunday, June 10th at the Paley Center located on West 52nd Street in New York City, a brief welcome and introduction was given by Associate Curator Rebecca Paller. She expressed her wonderment at the marvelous treatment given the NBC Opera done “live” with beautiful sets, excellent camera work, intimate shots and thrilling music by the orchestra which was unseen even by the singers. Ms. Paller singled out some special guests like legendary Met Opera soprano Elinor Ross, famed conductor Eve Queler and “practically everyone in  the audience!” Suor Angelica was aired in 1953 and repeated “live” in 1954.

Puccini’s Suor Angelica (Sister Angelica) takes place in Italy in 1680. Soprano Elaine Malbin, a young 21 year old Brooklyn born and raised was Suor Angelica. Sister Angelica’s sweetness and innocence prevailed and she was dutiful and resilient in her being. All the nuns were sworn to obedience and just once you wanted to hear “What do you do with a problem like Maria” from The Sound of Music. Suor Angelica gathers herbs for the nuns. Then there is a special visitor for her, her aunt. Sister Angelica was from a well to do family. She gave birth to a child and her family kept the child and they placed Sister Angelica in a convent. Her aunt, the Principessa (mezzo Winifred Heidt) is on a special mission and needs Sister Angelica to sign some papers dealing with property. Angelica queries about her child and is cruelly told that a few years back the child was ill and died of a fever. Angelica reaches out to the Principessa in her anguish but Zia (Aunt) steps back and prays, always remindful of the family disgrace wrought by Angelica. Ms. Heidt was riveting and flawless in her singing and acting. Her steely taut mezzo was symbolic of Hell’s wrath. Her exit left a chill in the room.

Suor Angelica is shocked by the news and sings “Senza Mamma” (without a Mother) ending on a high note that is from her heart to God. She mixes some poisonous herbs and takes them. In her delirium, she denounces herself for taking her own life which means Hell but as she dies, the Virgin Mary appears and lifts her arms in forgiveness and her child welcomes her to heaven.

Elaine Malbin was intense, her emotion profound, not one gesture wasted, her voice a laser of silver and gold as intense as a forger of steel. The final scene had me in tears, recalling my boyhood when things like the Madonna was so venerated by my Sicilian family. The Mother Superior Abbess (soprano Virginia Viney) was vivid and authoritative, but turned a blind eye when the nuns were eating sweets. All of the nuns sang with passion and fervor and were each and every one a gem. The Zia Principessa was like the ghost of Christmas Future in Charles Dickens’ A Christmas Carol. She was a heartless unforgiving spectre. turning her back on Angelica, showing punishment without mercy – a frightening figure, brilliantly portrayed and sung in a resplendent mezzo.

Peter Herman Adler was the most sensitive conductor and Kurt Browning the superb director. The producer was Samuel Chotzinoff with the Symphony of the Air Orchestra and the NBC Opera chorus. The beautiful sets were by William Molyneux. The English translations were by Townsend Brewster. When the lights were on again, on stage there was Elaine Malbin, looking remarkably young and given a long ovation. The eloquent and knowledgeable Robert Sherman from WQXR (The Listening Room) had a Question and Answer session with Ms. Malbin. She thanked her teachers in P.S. 234 in Brooklyn for her career. One teacher in particular heard her singing and made her join the chorus.

Ms. Malbin sang “Voi lo sapete Mamma” from Cavalleria Rusticana at age 14 and sang with the great Viennese tenor Richard Tauber while still in her teens. When asked by conductor Wilfrid Pelletier where she found such adult emotion at so tender an age she said, “I just felt it through the music – that’s all!”

An early La Traviata with Lawrence Tibbett as Germont and a brief study at the Stella Adler acting studio and the Stanislavsky method which she briefly used. But in reality it was just something she possessed and did. Elaine Malbin was given one weeks notice to learn the part and you could not see the conductor or orchestra. It was all savvy, Brooklyn grit and her own special gifts that allowed her not only to survive bur thrive. She also mentioned her Broadway play My Darlin’ Aida where she sang Aida six times a week. Rudolph Bing warned her “it will ruin your voice” but it never did. She sang at New York City Opera and did coach with Brooklyn’s Beverly Sills teacher Estelle Liebling. When the erudite Robert Sherman asked Elaine Malbin about her career losing its momentum, she proudly introduced her daughter Amy and grand daughter Savannah!

We then went from the Spielberg film room to the main room downstairs. A special Tony Bennett exhibit was on display showing his masterful paintings of people and places. We were pleased to chat with opera manager Ken Benson, conductor pioneer Eve Queler, Met Verdi baritone Mark Rucker and his wife Sadie from the Martina Arroyo Foundation’s Prelude to Performance, WQXR famed hosts Robert Sherman and Nimet Habachy, Opera Index treasurer Murray Rosenthal, Vice Presidents Philip Hagemann and Janet Stovin all from Opera Index. Murray Rosenthal requested this homage for Elaine Malbin and also presented the voices of several legendary sopranos on video: Callas, Caballe and Stratas all singing their interpretation of the famous “O Mio Babbino Caro” from Puccini’s Gianni Schicchi. 

Dramatic soprano Elinor Ross was enjoying the party as was author Luna Kaufmann, Gloria Gari, from the Giulio Gari Foundation and Bill Ronayne from the Mario Lanza Society. Ronayne reminded us that Elaine Malbin made two recordings with Mario Lanza back in 1950 for the film album The Toast of New Orleans.

Unfortunately legendary soprano and “founder of the feast” Martina Arroyo could not attend but sent regrets and a reminder that the Martina Arroyo Foundation will present the young awardee singers in Puccini’s Suor Angelica and Gianni Schicchi and Bizet’s Carmen in early July at the Kaye Playhouse at Hunter College. The playhouse is named after the great funny man Danny Kaye and his wife Sylvia Fine who were both Brooklynites. Martina Arroyo’s father Demetrio supported young Martina’s musical career as an engineer at the Brooklyn Navy Yard.

Can you imagine an America where such magnificent cultural television once reigned? Giving voice to that significant minority-the lovers of classical music and opera? Television executives who respected the taste of their viewers – even if it was 10 million instead of 100 million? Thank you Martina Arroyo in absentia and Elaine Malbin. You brought back the thrill!

On the afternoon of Saturday, May 20th, the Regina Opera concluded its 47th season with the charming comedy L’Elisir d’Amore. One more performance with alternate cast the next day! The great composer Gaetano Donizetti (1797-1848) wrote many tragedies such as Lucia di Lammermoor, but his comedies La fille du Regiment, Don Pasquale and L’Elisir d’Amore are still a source of great delight. Donizetti was a prolific composer and a master of melody. The librettist was Italian poet and scholar Felice Romani who wrote many librettos for composers Donizetti and Bellini.

L’Elisir d’Amore premiered in Milan on May 12, 1832 and has been a favorite ever since. On a sad note, on December 11, 1920, the great tenor Enrico Caruso sang Nemorino at the Brooklyn Academy of Music. (BAM) He suffered a throat hemorrhage and the curtain came down after the first act. Incredibly Caruso sang three times more at the Metropolitan Opera in great pain. His last performance was in La Juive the following December 24th. He died on August 2, 1921 at the age 48, after a lingering illness.

At Regina Opera, Principal conductor Maestro Gregory Ortega stepped up to the podium and the performance began. After the overture, the curtain rose to reveal a bright rustic inn and floral scene with Adina reading a book and a group of peasants nearby.

Nemorino lovingly gazed at Adina and sang “Quanto è bella, quanto è cara” about how beautiful and how dear she is. Lyric tenor Ivan Rivera, was the Nemorino for this performance. Mr. Rivera, born in Puerto Rico, has an endearing boyish appearance, is very mobile and resembles a young Cantinflas. (A brilliant Mexican film comedian) Rivera was perfect as the runt of the litter, the foil and fool, his head besot with thoughts of Adina who seemed to be totally out of his reach. He is the gnat that one slaps, a speck of dust in the eye of his unattainable beloved. Nemorino’s singing of “Quanto è bella” showed a somewhat different approach to singing, almost between his teeth-but the sound was that of a true tenore di grazie, of old, with a haunting vibrato and a full top. His interplay with Adina was most affecting and his singing of the great aria “Una furtiva lagrima” was one of the highlights of the performance. His diminuendos were exceptional, his spinning of the tone and heartfelt passages were moving. Rivera’s final cadenza, with fading and diminishing of the tone, was a marvel and his swelling of the note just before the conclusion was magical. Rivera’s comic acting with the so called “elixir” was great fun, his interplay with Belcore was like Lt. Colombo-always showing up and bothering, cloying and annoying! The finale, where he finally wins Adina’s heart, was absolute triumph and joy! A wonderful performance!

Adina, a wealthy young lady, was enchantingly played by Hannah Stone whose attractive persona, lovely soprano and understated and subtle behavior made for an enchanting Adina. Her roulades, cadenzas and stratospheric high notes throughout the performance made her the perfect match for her heartsick swain. Ms. Stone’s describing the story of Tristan and Isolde’s magic love potion to the peasants was dream worthy. Her sweet saucy soprano, was perfect in this role. There was exuberance as she hit her high notes with triumph in her duet with Dulcamara, “The Gondoliera and the Senator”, which was sung with delicious whimsy and abandon! Ms. Stone’s stunning singing of “Prendi, per me sei libero” with its cadenzas and vocal fireworks in the second act showed her artful best. It was a “tour de force” that was dazzling! The finale with she and Nemorino finally kissing as one made for much happiness.

Sergeant Belcore was brilliantly sung and acted by Peter Hakjoon Kim. Mr. Kim, a Regina Opera favorite, used his strong flexible baritone well – ensuring us that this braggadocio charmer would eventually get his comeuppance by the “dim-witted” peasant Nemorino. “In ciei, ingrazio, o babbino”  was sung with such scorn that it’s no wonder Belcore didn’t box Nemorino’s ears, or “bash his head” as promised. Kim’s robust singing with Nemorino in their duet “Venti Scudi” was unctuous and deliciously droll. Mr. Kim sang some great cadenzas and hit a few impressive high notes with great ease and this vainglorious “villain” loses his fiancée (and almost bride) Adina to his simpleton rival, only to march off with Adina’s friend Giannetta, his newest military “conquest.”

Dulcamara, a traveling “doctor”, was in the able hands of Luis Alvarado, whose generous basso-buffo ensured us of a strong performance. (I am always amazed at all the “Dulcamara’s” selling their magical cures on the Internet). After much pomp and trumpetry with descriptions of a golden coach, Dr. Dulcamara arrived with his assistant, riding a red bicycle! I recall at the old Met, the great 300 pound basso-buffo (later movie star) Salvatore Baccaloni, arriving in a balloon! Dulcamara’s singing of “Udite, udite o rustici” was sung with relish as he describes the various “cures” of his “magic elixir” warts, gone! widows rejuvenated! humps? gone! rheumatism, banished! A miracle elixir (cheap Bordeaux wine).

Alvarado’s comical singing of “The Gondoliera and the Senator,” with Adina at her “wedding” to Sergeant Belcore,” Io son ricco e tu sei bella” was most amusing. Alvarado  was a very noteworthy Dulcamara and his “patter singing” was first rate. The finale with his singing “Ei corregge ogni difetto” with chorus and company was an absolute delight.

Sharon Cheng was a most charming Giannetta with a piquant pretty soprano and a gleeful countenance.

Sarah Barringer was the “quicker picker upper” as the erstwhile assistant to Dr. Dulcamara.

The chorus was in excellent form and I loved when they crossed themselves perpetually and with some glee, when they heard that Nemorino’s uncle had passed away and left him a fortune. Beloved chorister Cathy Greco’s crossing herself with such wide eyed sincerity with the others was notable. The colorful ensemble consisted of Valentine Baron, Susanna Booth, Justine D’Souza, Thomas Geib, Wayne Olsen, Raffaele Rosato, Samantha DiCapio and Cassandra Santiago.

The costumes by Marcia C. Kresge were perfect-from Adina’s rustic and lovely dresses to the peasants garb, Dr. Dulcamara’s pompous outfit, Nemorino’s somewhat threadbare outfits, and the dazzling red uniforms of Sergeant Belcore and his troop.

The Principal Conductor and Music Director, the ingenious Maestro Gregory Ortega led a strong unified and glowing performance. The 34 excellent musicians followed his invigorating beat which was truly blended to this joyous tuneful score by Gaetano Donizetti. Kudos to Jonathon Nelson on the keyboard for the parlando passages. The trumpet heralding the arrival of Dr. Dulcamara was adroitly played by Hugh Ash.

Sam Themer and Milan Rakic’s make up was flawless and Linda Cantoni’s super titles were invaluable.

The sets were beautiful and rustic, with garlands of flowers, overhanging vines, an open doorway with verdant outside, the intimacy of a small taverna and an elaborate wedding feast replete with food and fun. The versatile Wayne Olsen’s set graphics and principal flutist and set artist Richard Paratley’s painted backdrop and other artistic touches were truly admirable.

The mournful bassoon solo by Stephen Rudman in “Una furtive lagrima” deserves special mention.

Lastly, the one who infused this performance of L’Elisir d’amore with a special life is Stage Director and Set Designer Linda Lehr. Ms. Lehr’s balancing the various protagonists, freezing of images, making the action so wonderfully fluid and special whimsical touches from Belcore’s blustering to Nemorino’s “no room at the inn” gloom and doom and packaging it all into a fine surprise with a perfect gift wrap is a miracle. Dr. Dulcamara’s arrival after so much heralding, not in a golden coach but instead on a red bicycle was like the midget clowns at the circus following the giants.

We thank the indefatigable Francine Garber-Cohen, Producer and President, Joe Delfausse, Marlena Ventimiglia, Elena Jannicelli-Sandella and all the volunteers for always greeting one and all as they arrive for an afternoon of splendid opera at Brooklyn’s “crown jewel,” The Regina Opera.

Afterwards we reenacted the sumptuous dinner scene by dining at La Casa Vieja, a Mexican restaurant nearby where Lourdes Peña and company hosted us very well indeed!

See you next season – Regina’s 48th!

 

 

 

The afternoon of Sunday, May 7th was a frantic one for New York and the world. The five boroughs were part of a super congesting bicycle marathon, street fairs were aplenty, France was having a controversial election and mayhem prevailed-but not at The JW Marriott Essex House in New York City. Here, all was music, harmony, peace and love. Two magnificent and important “givers” were honored and beautiful young voices prevailed with generous portions of food and wine!

Famed Metropolitan Opera mezzo-soprano Jane Shaulis is the President of Opera Index which has been giving awards to young promising singers for 35 years. She proudly gave monetary statistics from Opera Index’s generous patrons and members that were impressive indeed! Ms. Shaulis singled out former Opera Index awardee soprano Jennifer Rowley whose recent performance at The Metropolitan Opera in Cyrano (Roxanne) won the highest praise from the critics.

Then with the excellent accompanist Michael Fennelly at the piano, the concert began.

Andrés Moreno Garcia started the concert with a fervent performance of “Salut! Demeure chaste et pure” from Gounod’s Faust. Moreno’s robust tenor voice had Italianate flair and French refinement. Moreno commands attention with his polished squillo, fine shading and a beautifully hit high C with a ravishing diminuendo which conjured up an image of his beloved Marguerite. Moreno showed us how to do this aria with ease.

Kidon Choi sang the popular “Il Balen” from Il Trovatore by Giuseppe Verdi. Having heard the great American baritone Leonard Warren sing this aria, I dish out praise with extreme caution. Mr. Choi is the possessor of a large baritone voice with some fine shading and an impressive top. Di Luna is not a nice character but Verdi infused Di Luna’s love for Leonora’s aria with some of the most tender and sublime melodies ever. Mr Choi used his voice well and negotiated the passages with eagerness. Leonard Warren, looking down, is rooting for Choi and so are we!

Amanda Lynn Bottoms in red shoes was a sultry Carmen. Her warm Amaretto mezzo made the “Habanera” from Carmen the sexy moment it should be. Ms. Bottoms did not over exaggerate or over act. She was as Carmen should be, sleek, stalking and deadly as a

rattlesnake. We hope she will grace the world’s stages soon!

Angela Vallone the soprano scheduled could not attend. However Vartan Gabrielian, bass-baritone ably filled the void with the glorious singing of Aleko’s song from Rachmaninoff’s opera Aleko! This tall imposing bass-baritone showed his inner Boris Godunov with his excellent Russian diction and emoting. Michael Fennelly’s powerhouse playing in this music took us to heavenly heights!

An encore followed with Andrés Moreno Garcia and Kidon Choi singing “O Mimì tu più non torni” from Puccini’s La Bohème. Mr. Garcia’s throbbing tenor and Mr Choi’s generous baritone went to the core of Rodolfo and Marcello’s plight – an unbearable life without their sweethearts.

To break the La Bohème mood of nostalgic sadness, Jane Shaulis regaled us with a Doctor-Patient song called The Physician by Cole Porter that was most amusing to hear. The doctor only sees her as a patient, never as a love interest or a goddess! Ms. Shaulis’s glorious mezzo and humorous gestures made for some wonderfully funny moments!

The two honorees were given a standing, cheering ovation by the crowd and Dr. Robert Campbell, looking quite chipper, was lovingly assisted to the podium. Dr. Campbell, a noted psychiatrist, was a clinical professor of Psychiatry at Cornell Weill Medical College and is Medical Director Emeritus of the New York Gracie Square Hospital in NYC. He is best known for Campbell’s Psychiatric Dictionary now in its 9th edition by Oxford University Press. He is a Knight of the Orthodox Order of St. John Russian Grand Priory. He has been a member of the boards of the Opera Orchestra of New York, Licia Albanese-Puccini Foundation and the Ferro International Program for Operatic Scholars and Students. There is a photo in lobby of Robert Campbell and Cesare Santeramo with Princess Grace of Monaco that was breathtaking! Dr. Campbell accepted his award with a humble and witty speech in which he summarized the joys of living and the joys of giving!

Cesare Santeramo, was born in Newark, New Jersey and started singing in the boys chorus of his church when he was six years old. His first attended opera at the Met was La Traviata with beloved diva Licia Albanese and the great baritone Robert Merrill. He attended every Saturday performance until he was drafted into the Army. He sang with the Second Army Major Command Chorus which included concerts with Risë Stevens and appearances on the Ed Sullivan show. Santeramo had a successful singing career with the New Jersey Opera singing 15 lead roles over 25 years with the company including Alfredo in La Traviata with Licia Albanese. There is a photo of Santeramo in the lobby as Pinkerton. Santeramo was a board member of the Licia Albanese-Puccini Foundation for 19 years. At the same time, he was Director of Conference Management and Food Services for AT&T. Santeramo is a Chancellor of of the Orthodox Order of St. John Russian Grand Priory.

Dr. Campbell and Mr. Santeramo have generously created an annual award for Opera Index with many past winners to the present. Their generosity is boundless. Cesare Santeramo and Dr. Robert Campbell are “Renaissance men” who by virtue of their talents and skills also season the world with elegance, style and grace (and to end it poetically), they make the world a better place!

Mr. Santeramo, looking the epitome of chic, graciously accepted the award with praise for his parents, for his lifelong friend Dr. Robert Campbell, for Licia Albanese and to the glorious art of opera.

In the star studded crowd were Met opera legends, soprano Elinor Ross, mezzo-soprano Nedda Cassei and long time Met soprano Lucine Amara. Ms. Amara, vibrant and witty at age 92 regaled us with many tales of the Metropolitan Opera in the halcyon Bing era and beyond. So many legendary comrades like basso Cesare Siepi who she said, loved playing practical jokes onstage, Jan Peerce short in stature but a splendid musician. Ms. Amara should write a book about her adventures in the opera world! Lucine Amara is a proud Armenian American and the Armenian bass-baritone Vartan Gabrielian came to our table to chat with her and express his admiration. New York City Opera soprano Elaine Malbin was ever the soubrette in a flaming red dress and told us of her days with the NBC TV opera. Sachi Liebergesell who is President of the Licia Albanese-Puccini Foundation is among the admirers of the two honorees. It was so nice to see her among the glitterati.

It was great to chat with Murray Rosenthal, Secretary of Opera Index and Vice President and composer Philip Hagemann whose opera Ruth was given at at the Brooklyn Music School around the corner from the Brooklyn Academy of Music (BAM) the night before. Janet Stovin, also Vice President of Opera Index, vividly recalled her childhood in the shadow of Ebbets Field, Bill Ronayne from the Brooklyn based Mario Lanza Society, Maestro Stephen Phebus and Linda Howes, pillars of Opera Index, the sparkling Barbara Meister-Bender and David Bender from Career Bridges, Duane Prinz from Teatro Grattacielo, Brooklyn born opera manager Ken Benson and computer whiz and concert maven George Voorhis and the dashing Dwight Owsley from Opera Exposures. Helen Doctorow, Jolana Blau and author Luna Kaufman lent their vital presence. We recall their valuable work at the Elysium-Between Two Continents headed by Gregorij von Leïtis and Michael Lahr, who are presenting many events in Germany and Europe this summer. Both Dr. Robert Campbell and Cesare Santeramo were recently honored with the Erwin Piscator Award from Elysium at the Lotos Club in New York City.

Edward Jackson, poet-Cavaliere lent his ebullient persona to the mix and the radiant Maestro Eve Queler who gave so many magical opera concerts with the Opera Orchestra of New York. We said a fond farewell at the door to Opera Index President Jane Shaulis and her spouse Joseph Gasperec who help make Opera Index the perfect place to host young singers.

Another great party for a truly worthwhile cause. All the best to our gallant Knights – Dr. Robert Campbell and Cavaliere Cesare Santeramo for their many accomplishments and deserved honors!