Brooklyn Discovery – Page 10 – Discovering the rich sights and sounds of our beloved borough

Carrying Around a Soda Can Poured with Rotgut

An Interview with Kent Russell, Author of “I am Sorry to Think I Have Raised a Timid Son” Published by Alfred Knopf

“I am Sorry to Think I Have Raised a Timid Son,” Kent Russell’s irresistibly engaging debut collection of essays, intertwined with personal history, is easily one of the best books of the past year. In a uniquely homespun, yet masterfully polished voice (think Mark Twain meets Joan Didion) Russell has us from the book’s title, which is actually a quotation from Daniel Boone, whose presence and notions of masculinity set a template of sorts for the essays and reflections that follow. Mixing autobiography (in particular, the Turgenev-esque healing of wounds – or at least Mexican stand-off – between father and son) with such wide-ranging topics as a stay on a remote island with a present-day Robinson Crusoe and a visit with a former hockey enforcer looking back on his bruiser’s life, Russell merges erudite insight with highly-developed powers of observation.

Born and raised in Florida, Russell now lives in Prospect Lefferts Gardens. He’s become a confirmed Brooklynite.

On a frigid and overcast January afternoon, at lunch in Fort Greene’s Cafe Paulette, I begin our conversation by asking Russell how he came to live in Brooklyn.

KR: I moved to New York to go to NYU’s Graduate School of Journalism. My sisters Lauren and Karen [Note: Karen Russell is the wildly inventive and prodigiously gifted author of Swamplandia! and Vampires in the Lemon Grove] were living in Washington Heights. Because I got a job at Yeshiva University, I stayed in Washington Heights until I decided to focus on my writing and moved to Brooklyn.

Eagle: Are you part of the Brooklyn Literary Mafia: Amis, Auster, Egan, Lethem, et al.?

KR: Truthfully, no. I mean I’m certainly aware of them and I know they live in Brooklyn, but I tend to hang mostly with fellow ex-Floridians. It’s a very small diaspora. I teach a course at Columbia so, of course, I have colleagues and acquaintances on campus. And friends in Brooklyn. But my inner radar seems to always point me in the direction of folks from my home state.

Eagle: You write about, to put it mildly, some fairly eccentric people. It would have been so easy to have ridiculed them, to have hoisted them on their own petards. But you scrupously, and generously, avoid this. How did you resist the temptation?

KR: Actually, since I’m not someone who’s usually forthcoming, I feel a sense of responsibilty when writing about others. My starting point is always to ask questions. Whenever you report something — especially when it’s something about someone else’s life, about their more intimate stuff — you become like a simpering [talk show] host insofar as you want to make the subject feel as though you’re here for them only, you’re their closest confidante in the world and, oh yeah, don’t worry about the live studio audience all around us. It’s a lot like what Janet Malcolm elucidated in the first few pages of “The Journalist and the Murderer.” I don’t have a performative persona; I like to observe and just be open to the world. One of my literary heroes in that regard is Montaigne.

Eagle: Your use of metaphors (“feet slow as Christmas.” “like raised hands eager to ask a question”), adjectives (“gnatty drizzle,” “peep yellow”) and verbs (“ragdolling,” “Pollock’ed”) is truly astounding. How do you come up with these?

KR: My sister Karen and I joke about who can come up with the best adjectives. We usually run neck and neck. One source I’ve discovered for some of this stuff is a three volume dictionary of American slang. I’m always trying to top myself.

Eagle: You may have done it with “that sounds about as feasible as squeezing it off mid-pee.”

KR: (Laughing) I don’t know how I come up with some of this stuff. When you ask me me about these one-liners and bon-mots and crazy metaphors, I guess it makes me think of sword fighters. Like, I am obviously not a sword fighter, nor have I ever been one. But I imagine that the best, most fluid, most reactive and most dangerous sword fighter is the one who isn’t worried about getting hurt. You know? The one whose head is empty, who can just “flow.” That’s the state I aspire to when I’m writing.

Eagle: Growing up, were you an avid reader. And who, and what, did you read?

KR: Everyone in our family read voraciously – and eclectically. My mom would read self-help books, followed by deep, intellectual tomes, followed by pulp thrillers. Karen read so much that she would be like Mr. Magoo, walking into things with a book in her hand. She’d be reading the cereal box at breakfast. Also, every Friday our mom would take the three of us to the local Borders and tell us to pick out three books. It didn’t have to be the canon; it could be any book, by any author. Our tastes and interests were wide-ranging and I believe this enriched our writing – and our lives.

Eagle: Finally, the cover of your book is so droll and apropos. [Note: the book’s cover is a photo of Russell wearing a sandwich board with the title hand-lettered on a sandwich board.] Whose idea was it?

KR: The brains behind the cover was Peter Mendelsund. You should Google some of his other covers; you’ll see that the dude is a legit master. I was more than a little skeptical about his idea, but he seemed very sure of it, so I went with it. I knew well enough to give an artist his freedom, and to trust in his vision. Plus, he orchestrated my first (and most likely last) photo shoot!

A Review: ‘Reporting Always: Writings from The New Yorker’

Lillian Ross reporting on the set of John Huston’s “The Red Badge of Courage,” outside Los Angeles, 1950. Credit: Silvia Reinhardt

When I was a teenager and my father realized the true extent of my passion for the movies, he gave me a slim paperback titled simply “Picture.” The author was Lillian Ross. I’d read Arthur Knight and Manny Farber and Bosley Crowther and Stanley Kaufman, and, of course, Pauline Kael. But Ross was new to me. After reading the book, which many consider the best book ever written about the making of a motion picture, I never again missed an opportunity to read anything by Lillian Ross. (Who, not incidentally, while born in Syracuse, was raised in Brooklyn.)

Now, with the publication of “Reporting Always: Writings from The New Yorker,” with a forward by The New Yorker’s editor, David Remnick, we have the opportunity to reacquaint ourselves with the work of Ms. Ross — and to make new discoveries. For me, without doubt, the best of these discoveries is her droll and deadpan profile of the larger-than-life Brooklynite Sidney Franklin, titled “El Unico Matador.” (Not incidentally, this was Ross’s first New Yorker profile that appeared under her own byline.)

At first glance, Franklin, born Stanley Frumpkin in 1903 into an Orthodox Jewish family that had fled Imperial Russia for America in 1888, seems too outlandish to be true. The son of an NYPD cop (who was assigned to Brooklyn’s 78th Precinct), a closeted gay man (interestingly, the Eagle, which closely chronicled Franklin’s rise, was, in the 1840s, edited by another closeted male, Walt Whitman), a student of the legendary matador Rodolfo Gaona and friends with, among others, writer Barnaby Conrad, film director Budd Boetticher and James Dean (a great aficionado of bullfighting), Franklin went on to have an improbable, extraordinary life. The deeper one gets into Ross’s article, the more one realizes what a fantastic story she is telling. (In fact, in his biography of Hemingway, with whom Franklin had a fraught friendship, A.E. Hotchner writes that “Lillian Ross’s career with The New Yorker was founded on the success of her profile of the bullfighter Sidney Franklin.”)

Lillian Ross and Robin Williams, shortly after the release of “Good Morning, Vietnam” in 1987. Credit: Arthur Grace

As Ross recounts, Franklin became a matador after running away from home to Mexico. He fought bulls in Spain, Portugal, Colombia, Panama and Mexico. In “Death in the Afternoon,” Hemingway wrote of Franklin that “[He is] brave with a cold, serene and intelligent valor but instead of being awkward and ignorant he is one of the most skillful, graceful and slow manipulators of a cape fighting today.”

The reader quickly realizes that Ross is captivated by Franklin; where other reporters might have been barbed and mocking, Ross gives Franklin the benefit of the doubt. Even Franklin’s own sympathetic biographer, Bart Paul, notes that “El Torero de la Torah” (as his legion of Spanish fans dubbed him) was prone to exaggeration and tall tales. Wisely, Ross lets Franklin do most of the talking: “It’s all a matter of first things first. I was destined to taste the first, and the best, on the list of walks of life … I was destined to shine. It was a matter of noblesse oblige.”

On April 10, 1949, the Brooklyn Eagle published a story on Sidney Franklin, “Brooklyn’s own Matador de Toros.” Copyright © 2015 Newspapers.com

Noblesse oblige is a term that Franklin uses a lot. Once, while watching a bullfight in Mexico, he was seated next to a British psychiatrist. They had a conversation, captured by Ross, straight out of Lewis Carroll, by way of Groucho Marx:

“While a dead bull was being dragged out of the ring, Franklin turned to the psychiatrist. ‘Say, Doc, did you ever get into the immortality of the crab?’ he asked. The psychiatrist admitted that he had not, and Franklin said that nobody knew the answer to that one. He then asked the psychiatrist what kind of doctor he was. Mental and physiological, the psychiatrist said. ‘I say the brain directs everything in the body,’ Franklin said. It’s all a matter of what’s in your mind.’ ‘You’re something of a psychosomaticist,’ said the psychiatrist. ‘Nah, all I say is if you control your brain, your brain controls the whole works.’ The psychiatrist asked if the theory applied to bullfighting. ‘You’ve got something there, Doc,’ said Franklin. `Bullfighting is basic. It’s a matter of life and death. People come to see you take long chances. It’s life’s biggest gambling game. Tragedy and comedy are so close together they’re part of each other. It’s all a matter of noblesse oblige.’”

Lillian Ross, Ernest Hemingway and his sons, Gregory and Patrick, in Ketchum, Idaho, 1947. Credit: Mary Hemingway

Who but Ross could have captured that? And then, with impeccable reportorial instincts, gotten out of the way? One also realizes that, in many ways, she set the template for a certain New Yorker style. (The Franklin profile was written in 1949.) The hallmarks of this style are bemusement, curiosity, meticulous attention to detail and, especially refreshing in our age of internet-fueled snark, generosity. It would have been so easy to mock Franklin; Ross never took that bait.

Lillian Ross and J.D. Salinger in Central Park in the late ’60s with Erik Ross, Matthew Salinger and Peggy Salinger. Courtesy of Lillian Ross

By email, I ask Remnick about the Franklin piece in particular and Ross’s reportorial prowess in general.

“The Sidney Franklin profile is one of my favorites. You don’t find many Brooklyn bullfighters these days. There must be something in the kale or the air or something. It doesn’t matter. What was so wonderful about Lillian’s piece, and all of her pieces, was her eye for a story and her ear for the way people tell them. She remains a master.”

Lillian Ross and Wallace Shawn on the streets of New York in the 1960s. Courtesy of Lillian Ross

Even when she is profiling (in “How Do You Like It Now, Gentlemen?,” written in 1950) someone with as huge a target on his back as Ernest Hemingway, Ross never takes a cheap shot. From Remnick’s Introduction: “To her astonishment and Hemingway’s, some readers thought the piece was a hatchet job, a work of aggression that besmirched the reputation of a great literary artist. Which seemed ridiculous to both writer and subject. Hemingway and Ross had become close, and he went to great lengths to reassure her of their enduring friendship: ‘All are very astonished because I don’t hold anything against you who made an effort to destroy me and nearly did, they say,’ he told her. ‘I can always tell them, how can I be destroyed by a woman when she is a friend of mine and we have never even been to bed and no money has changed hands?’ His advice to her was clear: ‘Just call them the way you see them and the hell with it.’”

Ross took Hemingway’s advice, and for the past 65 years and counting, she’s never approached her craft any other way. How fortunate we are to have this new collection (which also includes profiles of Fellini, Al Pacino, Robin Williams, Maggie Smith and Judi Dench) — and to have this diminutive dynamo (it’s hard to get that Franklin patois out of my head) still out there with pad and pencil. Somehow, I’m sure she doesn’t use a Tablet.

Lillian Ross, John Huston and Audie Murphy on the set of John Huston’s “The Red Badge of Courage,” outside Los Angeles, 1950. Credit: Silvia Reinhardt

Prospect Heights Resident and New York City Opera Legend, Don Yule Passes Away

MEISTERSINGER. Photo credit, Beth Bergman — Meistersinger – Photo credit, Beth Bergman

Don Yule was born in Enid, Oklahoma on January, 21st, 1935 and passed away in Brooklyn, N.Y. on July 3, 2015. He was born Donnie Elton Yule to Dr. Arthur Harry Yule and Izell Warren Yule. </br>
He was a popular member of New York City Opera for more than fifty years and a talented artist. Yule was considered an essential part of the core company, participating in more than a thousand performances. He studied Music Performance at Indiana University, Bloomington.

Don Yule began his career with New York City Opera as a bass in the chorus in 1960 and later as a comprimario artist. His talent as a character actor was discernible from the start. He debuted as Gluttony in Six Characters in Search of an Author, starring Beverly Sills and the orchestra conducted by General Director Julius Rudel. Yule sang in several languages, including Italian, French and Russian. His roles also varied, from comedy to drama. He played both the drunken landlord Benoit and the thwarted lover Alcindoro, in La Boheme and the sinister jailer in Tosca. His most memorable roles were that of the emperor in Turandot and multiple parts in Candide.

While on tour with New York City Opera, Yule performed in Los Angeles; Saratoga, N.Y.; and the upper Northeast and Midwest of the U.S., as well as in countries such as Taiwan and Japan. Yule also performed in New York City Opera’s summer musicals and in Gilbert and Sullivan at the City Center of Music.(The Mikado being one of his favorite roles).

Marriage of Figaro - Photo credit, Beth Bergman — Marriage of Figaro – Photo credit, Beth Bergman

Earlier in his career, Yule performed at Town and Country Musicals in East Rochester, N.Y., where he met his first wife, Christine Chernis Brandt.

He sang with Turnau Opera in Woodstock, N.Y. and Sarasota, Fla. His roles included Colline in La Boheme and Collatinus in The Rape of Lucretia. He also performed with Central City Opera and Santa Fe Opera. Don Yule was the President of the American Guild of Musical Artists for five years. It is a labor organization that represents the men and women who create America’s operatic, choral and dance heritage.

During his second marriage, to Jaye Adams, Yule resided in Brooklyn, N.Y., with their son Seth. One of Don’s hobbies was collecting and repairing antique clocks and he found a kindred spirit in Aldo Mancusi from the Enrico Caruso Museum of America which Don visited. Don was an avid collector of music-related classical treasures. His collection included antique Victrola’s and rare operatic recordings that he loved to share with his colleagues.

Yule often donated performances with Maestro Vincent La Selva’s New York Grand Opera in Central Park, at The Brooklyn Academy of Music with The Brooklyn Philharmonic and Brooklyn’s Regina Opera Company. Many young singers from both the United States and abroad got a grounding in the American classical tradition with these wonderful companies. Yule shared his wisdom and knowledge of musical history with grateful newcomers and assisted them in establishing themselves here. Every summer he and other veteran singers enabled novices to garner their first reviews by singing with them as part of their presentations. During his long and busy career, Yule also sang in several New York City churches and synagogues.

Nine Rivers from Jordan, Photo credit - Beth Bergman — Nine Rivers from Jordan, Photo credit – Beth Bergman

Of interest, Yule was a third cousin on his father’s side to Mickey Rooney, whose birth name was Joe Yule.

Don Yule is survived by his son, Seth, and two former wives, Jaye Adams of Palm Beach, Fla., and Christine Chernis Brandt of Asheville, N.C.

In lieu of flowers, gifts may be donated in Don Yule’s memory to the Indiana University Jacobs School of Music, c/o the IU Foundation, P.O Box 500, Bloomington, IN 47402.

“The Little Church Around the Corner” Presents a Memorable “Amahl and the Night Visitors”

Brittany Fowler (Mother) Carlos Tapia (Amahl) Jake Ingbar (King Melchior) Daniel Neer (King Kaspar) Alexis Cordero (The Page) & Charles Samuel Brown (King Balthazar) Photo by Marcello Pantano — Brittany Fowler (Mother), Carlos Tapia (Amahl), Jake Ingbar (King Melchior), Daniel Neer (King Kaspar), Alexis Cordero (The Page), Charles Samuel Brown (King Balthazar) Photo by Marcello Pantano

On the evening of Friday, December 18th, “The Little Church Around the Corner” founded in 1848 so named because where another local Church refused to bury an actor, his friend was told, “There is a little church around the corner that will” thus becoming a favorite of theatre folk since. The Church of the Transfiguration on East 29th Street in New York City, now a National Landmark, presented the Gian Carlo Menotti (1911-2007) classic Christmas opera of “Amahl & the Night Visitors.”

We saw this wonderful hour long presentation several times at The Brooklyn Academy of Music (BAM) with our late good friend and former New York City Opera basso Don Yule as King Balthazar. We had the honor of meeting Gian Carlo Menotti, the composer who was present at that performance.

Menotti was commissioned in 1951 to write an opera for NBC TV television by its President David Sarnoff and Producer Samuel Chotzinoff. Menotti could not think of what to write but one day while visiting the Metropolitan Museum of Art in NYC he chanced to see the painting “The Adoration of the Magi” by Hieronymus Bosch with the three kings visiting the Christ child. He recalled his own childhood memories in Italy when he and his brother would wait until they fell asleep for the three kings to visit their home bearing gifts for Christmas. At that moment, Menotti knew what his opera would be. The first showing on Christmas Eve television in 1951 was viewed by an estimated 5 million people scored a tremendous hit and it was repeated for years afterwards. Now it is done in churches worldwide and audiences never fail to be touched by this musical tale of a mischievous crippled boy Amahl, his mother, their simplicity and poverty and their special royal visitors who have come for a place to stay on their journey and who witness a miracle when Amahl offers his crutch as a gift to the Child.

The program was in two parts. The first part was “A Ceremony of Carols” by British composer Benjamin Britten (1913-1976) sung by The Transfiguration Choir of Men and Boys, Girls Choir and Camerata. (A small chamber orchestra or choir- in this instance 42 choir members and 15 musicians.)

The procession down the aisle into the Church was impressive as the choristers walked to the main altar. There were ten carols sung, all brief and haunting. Britten had his own musical recipe and while not really melodic or atonal; his music is in another heavenly sphere, evoking his “A Midsummer Night’s Dream.” The chorus was a beautiful blend and in “That yonge child” Richard Jimenez boy-treble-soprano, was sweet and impressive. In “Balulalow” Mario Hall, boy-treble soprano was haunting and radiant. Kathryn Andrews was magical in her harp interlude. In “Freezing winter night” Lesley Zlabinger’s soprano soared with Joe Redd and in “Deo Gracias” one could almost hear a similarity to Carl Orff’s “Carmina Burana.” “Spring Carol” offered Lauren Breen and Sole Trinidad as soloists.

All of the singers were impressive and were a heavenly blend. Multi-cultural young and older singers woven together by the genius of conductor, organist and conductor Claudia Dumschat.

After a brief intermission with one and all marveling at the beauty of this Christmas decorated church with its wooden panels, Christmas greenery and Virgin mother grotto, beloved of actors, it was time to see Amahl complete in this Church for the first time and not just excerpts as had been done in the past.

The excellent 15 piece orchestra under the skilled baton of Claudia Dumschat began with the haunting prelude.

The mother was portrayed and sung by Brittany Fowler whose luscious mezzo soprano illuminated the stage with her duets with Amahl and the cherished “All that gold!” which was sung with the passion of a Puccini heroine. Ms. Fowler’s diction was crisp and clear and her impact on the audience was vivid and visceral.

Amahl was in the adorable hands of boy treble – soprano Carlos Tapia a 6th grader at Mt. Carmel Holy Rosary School. His poignant “Don’t cry Mother dear” and “I was a shepherd” were indelible and “Look, Mother, I can dance” was joyous, his acting exemplary. Carlos Tapia gave a strong portrayal of a crippled boy whose inherent goodness and curiosity made him a symbol of indomitable virtues worthy of a miracle. He was unforgettable.

King Melchior was in the able hands of Jake Ingbar whose robust baritone made him part of the trio blend including the rich sonorous basso of Charles Samuel Brown as King Balthazar and the flexible tenor of Daniel Neer as King Kaspar whose comic singing of “This is my box” captivated all. “Have you seen a child?” is the trio blend that enters one’s soul and just won’t go away. They scored a triune triumph! The Shepherd’s Song, “Emily, Michael, Bartholomew” was sung at the side aisle of the church with the shepherds, and Amahl’s mother with the Three Kings was another highlight.

Alexis Cordero as the Page who discovers Amahl’s mother’s attempt to take a piece of gold “For my child” is 16 years old and in the 11th grade at Norman Thomas High School. He sang in a robust bass and took Amahl’s blows well for “Please don’t hurt my Mother.”

The marvelous dancers, summoned to Amahl’s house were Ambar and Charles Rosario. They danced at the side of the interior of the church as did the peasant dancers Olivia Brett, Adriana Hall and Bianca Hall. The finale with the now cured Amahl, walking normally, leaving with the wise men and Page on their journey is as delicate as a Christmas ornament and we thank all responsible for giving us this Menotti moment of magic!

Special kudos to costume designer Terri Bush whose varied creations from the majestic colorful robes of the kings to the simple peasant attire was perfection.

Choreographer Robert Hampton did a wonderful job in utilizing this space making the dancers up front and closer to the audience.

Betty Howe, Stage Manager who knows how to balance both space and place so that one can properly face the action and be part of it.

Richard Olson, Director who had the Herculean task of making the boundaries of the Church wider and using the aisles to allow the principals to move and dance freely. The simple bench at the altar where the wise men sat and Kaspar’s bird cage and a blanket were all one needed to create the world of both majesty and poverty.

This Arnold Schwartz Candlelight Memorial Concert would have surely not been possible without the special genius of Claudia Dumschat and additional thanks to the Right Reverend Andrew R. St. John, Rector who greeted the standing room only audience warmly.

The reception following for one and all was in the common room where we had a chance to eat and drink, meet and greet friends and performers one of whom, pianist Michael Pilafian, we recognized from Maestro Vincent La Selva’s New York Grand Opera. What a beautiful way for my wife Judy and I and family to celebrate the Christmas season. We look forward to next year’s performance!

Brooklyn’s Casa Duse Presents Fall Music Festival

Left - Ben Chavez, Monet Sabel, Matthew Stoke & Jenisa de Castro Right - Robert Krakovski, Michele Ivey, Austin Davidson & Mark T Evans Photo by Judy Pantano — Left – Ben Chavez, Monet Sabel, Matthew Stoke & Jenisa de Castro Right – Robert Krakovski, Michele Ivey, Austin Davidson & Mark T Evans, Photo by Judy Pantano

On the evening of Saturday, December 5^th we were revitalized to be present at the Casa Duse Supper Club’s enticing new series of a “Fall Festival of Music” in conjunction with the “New Place Players” a month of extraordinary music, wine and food to welcome the holidays! The Casa Duse Supper Club is located at 16 Prospect Park West in Park Slope in a 19^th century townhouse named after the legendary Italian actress Eleanora Duse. (1858-1924) It was so named because of its late former owner Duse’s godson, Michael Waldron and the spirit of Duse he embodied. The walls of this charming dwelling are filled with signed photos of Duse, Stanislavsky, Olivier, Gielgud, Barrymore, as well as soprano divas; the imperial Zinka Milanov, legendary Joan Sutherland, great tenor Luciano Pavarotti and the “king” of tenors Enrico Caruso and many other opera and theater immortals. Joan Sutherland and her husband conductor Richard Bonynge occupied the Casa Duse for years as guests of Martin Waldron during their seasons at the Metropolitan Opera. When Martin Waldron passed away in 2009,our affable host Robert Krakovski started the Casa Duse Collective parlor salon, to honor and perpetuate his mentor and keep his spirit alive.

The truly unique intimacy of an event at Casa Duse and its rich history in itself makes for a memorable night. Whether a New Place Players gourmet Shakespeare salon under the brilliant stewardship of Craig Bacon, or live music by world class artists in the living room of the historic home across from Prospect Park, the experience is magical!

Ben Chavez a talented young man from New Jersey did a show entitled “Out of NYU, Paying DUSE! A tribute to Mentors and Musical Inspiration!” Back by popular demand, this affable and talented rising star offered us a feast of standards, pop sounds and original compositions.

The first part found the gifted Ben Chavez at the piano evoking memories of Hildegarde, Liberace, Nat “King” Cole and others who charmed past generations with piano and song. Chavez offered us generous portions of Bill Joel including a wonderful “New York State of Mind.”

In his reflective banter, Chavez revealed that one of the things he learned is the tragedy of leaving life “not to have given enough of ourselves.” Indeed in some of his jazz selections his concentration almost transformed the music into an intimate Scarlatti piece.

Looking around the room, twenty or so tables, each with a red rose, young faces eager, enthusiastic and joyful, made for a perfect Saturday night.

Chavez regaled his audience with “Sometimes it takes a while” and “Just the way you are.” He then discussed some of Frank Sinatra’s influence and Ray Charles’ “A baby grand-all it takes is the power of my hands.”

Then “You all rise up with your hands-make a joyful noise, rise up” and “I was ready for someone to hold me-Love to the rescue again.” His superb backup singers were sopranos Monet Sabel and Jenisa de Castro and the tenor of Matthew Stoke. A perfect blend-each worthy of solo careers!

After a brief intermission, the second part of the program opened with one of my all-time favorite Spanish songs, “Amapola.” Chavez commented that he heard it sung by Andrea Bocelli. This love song goes way back to legendary tenors Tito Schipa, Jan Peerce and the great Alfredo Krauss. It was also a “pop” hit in the 1940’s. Chavez, whose pleasing baritone proved itself worthy of this genre, was accompanied on the piano for part two by Mark T Evans whose wonderful pianistic virtuosity evoked the colors of Debussy.

This was followed by” Fabrizio’s love song” from the musical “Light in the Piazza” a Lincoln Center hit a few years ago. Chavez, who is also a noted composer, admired this work by Adam Guettel, who is the grandson of the great Richard Rogers.

A charming duet followed titled “Something Stupid” with Michele Ivey. This was a big hit with Frank Sinatra and his daughter Nancy in the 1950’s. Ms. Ivey’s sumptuous soprano tapered its size for this perky novelty.

A Gershwin medley included a heartfelt “Embraceable You.” Chavez also did a bit of tap dancing to an old Fred Astaire tune with his many fans cheering. Chavez’s finale was a Sesame Street (Elmo) Christmas song that he recalled from his youth. “Think of the day, when Christmas has gone away” reassuring the children that Christmas is a moveable feast!

Another encore was “I’ll be seeing you” with a wonderful high note and pianissimo finale. This sentimental song was Liberace’s closing theme song. Actor-singer Austin Davidson in a brief duet with Chavez, rounded out the potpourri of talent that made this evening so special!

The elegant host-producer Robert Krakovski who is the true spirit of Martin Waldron, who reigned at the Casa Duse for 50 years, had reason to smile as did the ghosts of the great artists photos on the wall, because the Casa Duse is alive and keeping the spirit as in Dickens’ “A Christmas Carol” past, present and future.”

Future programs are:

Friday Dec. 11^th – at 6:30pm Emirhan Tunca & Andrew Sun-Cello & Piano Duo

Sat. Dec. 12^th – at 6:30pm Latin & Jazz Cabaret with Horacio Martinez & Friends

Sat. Dec. 19^th – 6:30pm Theresa Kloos & David Raimo “Christmas in New York”

Sun. Dec. 20^th – 6:30PM Jazz Sunday with the Sam Dillon Trio

For tickets & information visit: www.16 casaduse.com

“Gotta Dance” – An Interview with Tyler Angle, Principal Dancer, New York City Ballet and Enthusiastic Brooklynite

Since 1964, when it became the second building constructed on the new Lincoln Center campus, the New York State Theater (known since November 2008 as the David H. Koch Theater) has been home to the New York City Ballet, one of the city’s, and the world’s, great cultural treasures. As one walks into the lobby, (and now that THE NUTCRACKER has begun its annual holiday season, through January 3, 2016, there will be multitudes entering) on the right wall closest to the entrance, in alphabetical order, are black and white photographs of NYCB’s principal male dancers. The first photograph is of Jared Angle, who has been a principal since November of 2005. Next to him is a photograph of his brother Tyler Angle, who has been a principal since since October of 2009. (The hierarchy in ballet is “apprentice,” “member of the corps de ballet,” “soloist,” and, finally the highest ranking attainable, “principal dancer.”) Although they are originally from Altoona, Pennsylvania, they both now reside in Brooklyn, as does a third brother Bradley. It would seem the Angles of Altoona have colonized the borough of Brooklyn.

(Interestingly. NYCB has two other sets of siblings: Megan and Robert Fairchild and Abi and Jonathan Stafford, although Robert Fairchild is on temporary leave starring in An American in Paris on Broadway and Jonathan Stafford recently retired from his principal dancer role and is now a ballet master for the company.)

Tyler, in particular, has become a diehard Brooklynite, living in Brooklyn Heights since 2012. In truth, however, his family’s Brooklyn connections goes back much further.

The Eagle spoke by telephone recently with Angle, who will be dancing a selection of performances in this season’s production of The Nutcracker.

Eagle: What drew you to live in Brooklyn?

Maria Kowroski as the Sugarplum Fairy and Tyler Angle as her Cavalier in George Balanchine’s The Nutcracker. Photo credit: Paul Kolnik

Angle: When I first came to New York in the Fall of 2001 to study at the School of American Ballet (Note: SAB is the official school of the New York City Ballet), in order to be close to the School, I essentially lived at Lincoln Center. By 2009, when I became a principal, I wanted to put some geographic and pyschic distance between where I worked and where I lived, and because my father’s sister, my aunt Rosie, raised her family in Brooklyn, the borough was my first choice. In fact, another sister of my father’s, my aunt Shirley, also lived in Brooklyn; her husband was an NYPD beat cop. I had been visiting Brooklyn since I was ten. There was not the slightest doubt that was where I wanted to live.

Eagle: What are some of your favorite Brooklyn restaurants, cafes, activities?

Angle: My friends and I love having lunch or dinner at Jack the Horse, on Hicks. Excellent food, super great atmosphere. We also like Frankie’s, Roman’s, lots of restaurants in Williamsburg, which is where my other brother, Bradley, lives. We also like just wandering around, especially in the Heights. I really like the smaller scale, compared to Manhattan, of Brooklyn neighborhoods. And I like the way you can just be meandering and discover a plaque telling you that “Walt Whitman lived here” or Hart Crane wrote “The Bridge” on the fourth floor of this apartment. It makes these landmarks feel accessible. Afterwards, I like to go to Atlantic Avenue to buy Lebanese or Turkish food for dinner. Since purchasing the apartment, I’ve become a bit of a homebody; I enjoy cooking for friends, staying in, decompressing from rehearsal and performance.

Eagle: Although you dance the full repertoire, from Balanchine to Wheeldon, I’m always knocked out by your performance as one of the three sailors on shore leave in Jerome Robbins’s “Fancy Free.” On your profile page on the New York City Ballet website, you describe how one of your favorite aspects of this ballet is that, when it’s clicking, “the dancer is not aware of performing and the audience is not aware of watching a performance.” Is this only applicable to “Fancy Free” or do you also feel this way about other ballets you perform?

Angle: That’s a good question. Ideally, what I always strive for is naturalism over “exhibition.” For example, I remember dancing with Wendy Whelan (it was my debut dancing with her) in the pas de deux from “Diamonds,” and experiencing that same sensation, being totally olivious of the audience. That is such a rare feeling and one that every dancer strives for. Both “Fancy Free” and Jerry’s (choreographer Jerome Robbins) “In the Night” permit that transcendence to happen. With “Fancy Free” there are many other elements at work as well. My grandfather joined the Navy when he was 17 and fought in World War II. Talking with him about his experiences informed my approach to the ballet. Also, the first time I did “Fancy Free” I was still a very young dancer working with two seasoned veterans. Now I have the great fortune to dance with my contemporaries and this heightens the sense of camaraderie and esprit de corps. The ballet is wrapped up in all these memories, so, as I said on the website, it remains very special and significant for me.

Tyler Angle as the Cavalier in George Balanchine’s The Nutcracker. Photo credit: Paul Kolnik

Eagle: Six years ago, in an interview with Claudia LaRocco of The New York Times, you mentioned that, at your career’s end, you had no ambition to found your own company or to become a choreographer. Has your thinking changed? And have you thought about what you would like to do?

Angle: My thinking hasn’t changed about not wanting to run a company or to choreograph, but I also know I don’t want to reach 35 and think “What am I going to do next?” I want to be prepared for the “next.” For the past four years, during the summer, after the company’s residency at the Saratoga Performing Arts Center, I’ve been the artistic director of the Nantucket Atheneum Dance Festival. There are lectures, dance recitals, children’s classes. We’ve attracted prominent dancers from American Ballet Theatre, the Paris Opera Ballet, the Royal Ballet, Pacific Northwest Ballet and Miami City Ballet. We don’t have a big gala or benefit; it’s all very local and low-key – we perform in the Mary Walker Auditorium at Nantucket High School. What the Festival is all about is the concentration, discipline and diligence that ballet demands. This is the kind of career path I see for myself after my professional dancing comes to an end.

Watching Angle dance, exquisitely, the role of the Cavalier at last night’s performance of The Nutcracker, one hopes he puts off that decision until he’s eligible for AARP membership.

The Nutcracker continues its run at the David H. Koch Theatre at Lincoln Center Through Sunday, January 3rd. Tickets available at www.nycballet.com

Regina Opera presents an outstanding “The Merry Widow”

The Widow Anna Glawari (Christina Rohm, left) and Count Danilo (Peter Hakjoon Kim, right) halfheartedly perform the Petrovanian national dance. Photo by George Schowerer — The Widow Anna Glawari (Christina Rohm, left) and Count Danilo (Peter Hakjoon Kim, right) halfheartedly perform the Petrovanian national dance. Photo by Elena Sandella

On the afternoon of Saturday, November 21st, the theater at Our Lady of Perpetual Help Catholic Academy of Brooklyn in Sunset Park, Brooklyn, was transformed into the Petrovenian Embassy for the Regina Opera’s first production of their 46th season. “The Merry Widow” composed by Austrian-Hungarian Franz Lehár (1870-1948) was an instant worldwide hit since its debut in 1905.

Brooklyn’s Regina Opera presented a brilliant and entertaining production on November 21, 22, 28 and 29, featuring two casts. Perfect holiday entertainment!

The plot: a rich widow returns to her native Petrovania, with an inheritance of millions which could save the nearly bankrupt country, if she marries another Petrovanian. Music, mirth and mayhem galore result. At the beginning of Act 1, when all were singing a birthday tribute to their King, the portrait we see was actually of Conductor Gregory Ortega!

Anna Glawari, the wealthy widow, was brilliantly sung and acted by soprano Christina Rohm. Rohm’s singing of “Vilia” was sheer magic and “I love you so” (The Merry Widow Waltz) was equally perfect. Ms. Rohm could be heard above the orchestra and as a perfect blend in ensemble numbers; her finales were exciting her top notes like golden stars. Ms. Rohm’s voice has great beauty and is full, round and sumptuous in sound. She simply WAS Anna Glawari. Ms. Rohm was stunning in a peasant dress in Act 2.

Count Danilo Danilovitsch was in the excellent hands of baritone Peter Hakjoon Kim. His caressing and strong singing of “I’m Going to Maxim’s” and “Women” (Girls, girls, girls) and with Anna in “I love you” was captivating. His acting and dancing were part of a very romantic portrayal. His dramatic soliloquy “There once was a Prince” was powerful. Kim’s high baritone was beautifully tapered for this stellar role. Kudos for his heel kicks á la The Rockettes in the “Girls, girls, girls” reprise!

Camille (David Bailey, left) seeks a tryst with Valencienne (Sarah Moulton Faux, right), Photo by George Schowerer — Camille (David Bailey, left) seeks a tryst with Valencienne (Sarah Moulton Faux, right). Photo by George Schowerer

Valencienne was sung by Sarah Moulton Faux. Her beautiful lyric soprano sparkled magically in her duet with her suitor Camille de Rosillon, and she was a fine actress. Their rhapsodic duets together made for a profound sigh for love-illicit or not! Her voice echoed with longing and had a golden sheen.

Camille, Count de Rosillon was sung by tenor David Bailey. Bailey is the possessor of a lovely ardent lyric tenor who entered the very high tessitura of this part with ease. His singing of “See, there’s a place close at hand” describing the nearby pavilion in which Camille and Valencienne could meet for a tryst, thrilled the listener with its pulsating ascending scales and enchanting irresistible melody. Bailey and Ms. Faux were a handsome couple. Nice to see and wonderful to hear!

John Schenkel was a superb Baron Mirko Zeta. His feigned heart attacks, swooning and general frustration were great fun and his robust baritone was never better. Schenkel’s “double takes” at his peeks in the pavilion thinking his young wife was inside with a lover, were priceless!

The Widow (Christina Rohm, center) surrounded by a group of suitors. Photo by George Schowerer

Njegus was in the comical hands of Daniel Kerr who danced a good Can-Can in a skirt. Kerr’s clearly enunciated spoken dialogue was loud and clear and his was a memorable comic portrayal.

The smaller parts, including the Viscount Cascada of Jon Thomas Olson, Raoul de St. Brioch of Andrew Tse, The Bogdanovitch of Thomas Geib, The Kromov of Kevin Miller, The Sylviane of Jennie Mescon, and the Olga of Noelle Currie were all done with flair.

The marvelous dancers were Wendy Chu, whose grace and charm filled the stage; Christian-Philippe Consigny whose balletic background enables him to heel kick and turn with astonishing precision; and the graceful Stephanie Garcia, all of whom made for formidable dancing.

Petrovanian dancers entertain the guests. Photo by George Schowerer

The Grisettes were brilliantly danced by Wendy Chu as Lolo, Stephanie Garcia as Dodo, Kelly Vaghenas as Joujou and the Froufrou of Sara Laszlo, Cloclo of Lisa Ferraro and the Margo of Christian-Philippe Consigny rounded out the dazzling dancers.

The colorful ensemble included Jennifer Allenby, Lisa Ferraro, Julianne Frohlich, Elena Jannicelli-Sandella, and the versatile Wayne Olsen among others.

The costumes by Julia Cornely were fabulous; Anna Glawari’s Act 3 black gown sparkled brilliantly; the various medals that bedecked the Counts and Barons looked regal, and the Petrovanian’s were all colorfully dressed. The Grisettes singing and dancing “We’re the ladies of the chorus” were right out of the film “Moulin Rouge”.

The innovative sets as well as the stage direction were by Linda Lehr. Her genius made all the actions flow like champagne. The “fast freeze” was used effectively and the dialogue by Linda Lehr was whitty; The supertitle were clear and readable. Tyler Learned’s set and lighting designs were truly mood inducing.

The chorus sang with inspiration, the peasant song and “Vilia” were haunting and unforgettable. Both the men and the women in ensemble and separate gave their all!

The Widow Anna Glawari (Christina Rohm, center) entertains her fellow Petrovanians Elena Jannicelli-Sandella (left), Wayne olsen (center) Julianne Frohlich (right) with a ballad. Photo by George Schowerer

The orchestra, under the inspired baton of Maestro and new Music Director Gregory Ortega was first class. It was like having Franz Lehár himself conducting this great 36 piece ensemble. Maestro Ortega captured the romance and “schmaltz” of the operetta style. The violin solo, during the love duet of Camille and Valencienne played by violin concertmaster Yelena Savranskaya, was sublime. During the bows by the conductor and cast onstage Ms. Savranskaya was in charge of the orchestra for the encore finale of “Girls, girls, girls!” The audience, who hummed along with the melodies clapped in cadence for the bows. Kudos also for violinist Diana Barkan.

In a very troubled world, The Regina Opera continues to give us joy through music, the antidote for all evils. “The Merry Widow” with its beautiful and timeless melodies and dances was the perfect entertainment at the right time.

Thank you Fran Garber President and Producer, and Linda Cantoni Executive Vice President, Treasurer Joseph Delfausse, Vice President Alex Guzman, and volunteer Marlena Ventimiglia for all of your efforts on behalf of the unique Regina Opera, Brooklyn’s own pride and joy. Bravo to all!

Martina Arroyo Foundation Celebrates its 11th Annual Gala

The Martina Arroyo Foundation on Monday, November 16^th celebrated its 11^th Anniversary of Prelude to Performance. The gala was held at the JW Marriott Essex House in New York City. This was a night to remember, when the worlds of music and fashion merged to form a special magic with an excitement of its own.

Soprano legend Martina Arroyo & Fashion Designer Joanna Mastroianni Photo by Jen Joyce Davis — Soprano legend Martina Arroyo & Fashion Designer Joanna Mastroianni. Photo by Jen Joyce Davis

Brian Kellow, Features Editor of Opera News and bestselling author and radio WQXR evening’s host Terrance McKnight, lent their abundant charm as co-hosts and introduced many distinguished guests in the audience. Gala Producer Midge Woolsey led us in a brief moment of silence for the victims of Paris. The Michel Maurel Award was given to Ernst Rieser, longtime friend, adviser and personal assistant to Mme. Arroyo. Martina Arroyo looking resplendent in a burgundy gown presented the award named after her late much loved husband.

Martina Arroyo also presented an award to honored guest,Artistic Director Ted Sperling of MasterVoices (formerly The Collegiate Chorale). He then conducted the chorale in a brief magical piece from Purcell’s Dido and Aeneas with angelic purity of tone.

The operatic portion then began with “The Flower Duet” from Madama Butterfly by Giacomo Puccini. Brandie Sutton, soprano and Hyona Kim, mezzo blended their voices beautifully. Ms. Sutton is a soprano of radiant promise. Ms. Kim’s majestic mezzo mellowness was alluring. Akari Weintzen was an adorable “Trouble,”(Butterfly and Pinkerton’s child) and performed her tasks with deft professionalism. This was a poignant segment beautifully done. Their tossing of the blossoms to prepare for Pinkerton’s arrival melted the heart.

Jennifer Rowley, sang “Pace, Pace, Mio Dio from Giuseppe Verdi’s La Forza del Destino. Ms. Rowleys opening note was held seemingly forever reaching fortissimo and then diminishing to a whisper. A true Verdi soprano, Ms. Rowley went from strength to strength as if combating the caprices of destiny with prayerful defiance. Her “Maledizione’s” were individually spine chilling. Jennifer Rowley made a successful Metropolitan Opera debut as Musetta last year.

Dinner was served and the program continued with international rising tenor Michele Angelini, who was born in Brooklyn-why not? So were legendary tenor Richard Tucker and baritone Robert Merrill. Angelini thrilled us with a powerful interpretation of “Ah! mes amis” from Donizetti’s La Fille du regiment. The 9 high “C’s” were hammered out with insouciance, grit and charm.

Sadie & Met Opera Baritone Mark Rucker Photo by Jen Joyce Davis

Brian Kellow then presented an award gift to Greek born Joanna Mastroianni whose fashion collections reflect her sense of style and elegance. A brief film was shown of her designs accompanied by the haunting voice of Maria Callas singing “Eben” from Catalani’s La Wally.

An auction followed with a real auctioneer-Angelo K. H. Chan! Some of the auction gifts were: a week in the Palais de Paris dans Le Marais, tenor Michele Angelini for an evening of singing, famed Italian Parisian chef Paolo Petrini for a private dinner for eight, and a “poker” night with Martina Arroyo, Marilyn Horne and Tyne Daly were among the highlights!

The Act Two lesson scene from La Fille du Regiment was then performed. Claire Coolen used her saucy soprano and comedic timing and versatility with humor and elan. Karolina Pilou used her dark, plummy and pliable mezzo with great aplomb along with Michele Angelini’s exciting tenor and Jacopo Buora’s resonant bass baritone, put them in a pot and a brilliantly funny brew ensues!

After coffee, tea and desserts and closing remarks from Brian Kellow and Terrance McKnight an “extra dessert” followed. Soprano Cecilia Violetta Lopez, who caused a sensation as Violetta in Prelude to Performance in 2014, sang the “Csardas” from Johann Strauss’ Die Fledermaus. Ms. Lopez‘s flourishes, scales and exciting coloratura took us on a roller coaster ride that ended with a sustained high note and brought down the house. It was a rousing finale from a young and gifted singer. The exceptional accompanists were Lloyd Arriola and Noby Ishida.

Metropolitan Opera baritone Mark Rucker who coaches the awardees, and his wife Sadie (Publicity) have given their all since the conception of Prelude to Performance and deserve great kudos.

Composer/Singer Rufus Wainwright with fashion designer Joanna Mastroianni, Judy & Nino Pantano. Photo by Jen Joyce Davis

Our table was graced by Gerda Lissner President Stephen De Maio with Board of Directors Michael Fornabaio, Karl Michaelis, Joyce Greenberg, also Gloria Gari from The Giulio Gari Foundation, Maestro Eve Queler, Robert Lombardo famed vocal agent, soprano Barbara Ann Testa vocal judge, Cavaliere Edward Jackson, and we greeted F. Paul Driscoll, Editor of Opera News, Sachi Liebergesell, President of the Licia Albanese–Puccini Foundation, Murray Rosenthal from Opera Index, Maestro Stephen Phebus and Linda Howes were also present.

Tenor Michele Angelini Photo by Jen Joyce Davis

It was a pleasure to meet Rufus Wainwright (Benefit Committee) composer/musician who had a huge success at The Brooklyn Academy of Music (BAM) with his opera Prima Donna as well as fashion honoree, Joanna Mastroianni. Famed coloratura soprano Harolyn Blackwell was as perky and vital as when she sang an unforgettable “Oscar” in Verdi’s Ballo in Maschera with Luciano Pavarotti at The Metropolitan Opera. This was a night of good friends, good food, great singing and all the good and beautiful things in life. Thanks to Gala Chair Cecilia Teng, Gala Producer Midge Woolsey and co-chairs Donna and Richard Esteves and Andrew Martin-Weber.

Soprano Jennifer Rawley. Photo by Jen Joyce Davis.

Martina Arroyo, magnificent Metropolitan Opera and international soprano, human being and humanitarian fully deserved her recent honor at the Kennedy Center. Madame Arroyo’s work with young promising opera singers is through her Foundation in its Prelude to Performance at the Kaye Playhouse at Hunter College. This program prepares the winners with scholarships plus a stipend for six weeks of study and presents them in four fully costumed productions with orchestra. In July 2016, Prelude to Performance will present two performances each of Die Fledermaus by Johann Strauss and Puccini’s La Boheme. This also provides the true antidote for the evils in the world by letting the indelible imprint of enlightenment through music enter.

Soprano Cecilia Violetta Lopez Photo by Jen Joyce Davis

Thanks to the Martina Arroyo Foundation, opera will continue to thrive as young singers are granted the opportunities to perform and offer their special gifts to the world.

Opera Index Presents Their Annual Membership Buffet & Recital

Pianist Michael Fennelly, Maya Yahav Gour, Alexa Jarvis, Sean Michael Plumb, President Jane Shaulis, Galeano Salas & Sol Jin. Photo by Judy Pantano.

On the evening of Thursday, November 11^th, Opera Index held its annual membership buffet and recital at The Community Church of New York in Murray Hill. It also welcomed its new President, Metropolitan Opera mezzo soprano Jane Shaulis who in turn greeted the enthusiastic audience. We were treated to the vocal talents of five award winners of the Opera Index 2015 vocal competition.

Galeano Salas sang “Che gelida manina” from Puccini’s La boheme. Salas has youth and ardor and also is the possessor of a truly fine tenor. There are moments when his voice is restrained but suddenly there is a transition to a brilliant top. His beautiful singing of Che gelida manina had many golden moments and ended sweetly. His later encore of the Mario Lanza hit (1953)”Because You’re Mine” was sung with freshness, elan and a ringing finale. His glorious singing of “Jurame” brought back memories of tenor Alfredo Krauss, with its passion and ringing high C’s. Salas and soprano Alexa Jarvis shook the rafters with their final high C in “O soave fanciulla” from Puccini’s La boheme. It was a wonderful “extra”encore.

Maya Yahav Gour is a mezzo from Tel Aviv. Her singing of “La romance de l’etoile” by Chabrier revealed a voice with a vibrant smoky sound. She has good interpretive instincts but a delicate quality best suited for operatic rarities. Ms. Gour sings a lot of jazz as well. Her encore of “Smoke gets in your eyes” needs a more intimate venue to be more fully appreciated.

Meche Kroop, Barbara & David Bender with President Jane Shaulis. Photo by Judy Pantano.

Sol Jin baritone sang an impassioned “Avant de quitter ces lieux” from Gounod’s Faust with a stunning optional high note and a strong finale. His encore was a Korean love song with beautiful melody wonderfully sung.

Maestro Eve Queler, Cesare Santeramo, Dr. Robert Campbell & Robert Steiner. Photo by Judy Pantano.

Alexa Jarvis used her crisp powerful soprano in “Stridono lassu” from Leoncavallo’s I Pagliacci. She had fine portamentos and coloratura with a ringing finale. Ms. Jarvis encore was a touching “Someone to watch over me” (I guess Canio wasn’t good enough?)

Sean Michael Plumb, winner of the Opera Index award for 2015, sang a dazzling “Pierrot’s Tanzlied” from Korngold’s Die Tote Stadt. His beautiful baritone caressed the words and his pianissimi were heavenly. The superb accompanist was Michael Fennelly.

We then all lined up for a terrific dinner brought in by members. Like the lasagna which we devoured, the evening consisted of multi layered goodies.

We thank the new President Jane Shaulis, Executive Director Joseph Gasperec, Vice President Philip Hagemann, Treasurer Murray Rosenthal and Board member John Metcalfe, Stephen De Maio from the Gerda Lissner Foundation, trustee, Karl Michaelis and countless friends who make this Opera Index celebration one of the year’s great events. Special kudos to Maestros Eve Queler and Stephen Phebus, with wife Linda Howes, David Bender and Barbara Meister Bender from Career Bridges, Ken Benson opera manager and Met Opera soprano legend Elinor Ross. Other notables and several donors were Doris Keeley, Meche Kroop, Cesare Santeramo and Dr. Robert Campbell. Professor poet Cavaliere Edward Jackson, Brooklynites Bill Ronayne President of the Mario Lanza Society and Lois Kirschenbaum (opera’s number one fan) also added to the festivities.

The Opera Index celebration was truly a “moveable feast” and the memory will endure until at least next year’s annual musical and edible incredible party!

William Goodhue, Treasurer Murray Rosenthal, Bill Ronayne & Vice President Philip Hagemann. Photo by Judy Pantano

2015 Winners of the Lieder/Song Competition

President Stephen De Maio, Erik Larson, Kevin Ray, Pianist Arlene Shrut, Anastasiia Sidorova, Michael Maliakel, Sonja Krenek, Emily Misch, Steven LaBrie, Josh Quinn, Liana Guberman, Sean Michael Plumb & Barbee Monk. Photo by Judy Pantano.

On the evening of Tuesday, November 10^th, The Gerda Lissner Foundation in association with the Liederkranz Foundation, introduced the 2015 winners of the Lieder/Song competition. Stephen De Maio, President of The Gerda Lissner Foundation, spoke enthusiastically about the merging of the two organizations for this special occasion. This intimate elegant evening was held at The Kosciuszko Foundation in New York City. The ebullient host for the program was Brian Kellow, Features Editor of Opera News and the singers were accompanied by pianist extraordinaire Arlene Shrut. Mr. Kellow with his wit, anecdotes and knowledge introduced each award-winning young artist and kept the proceedings moving along at a brisk happy pace.

Michael Maliakel sang “Wer sich der Einsamkeit ergibt.” His is a “dark” bass and his subterranean resonance was used with elegance and style. His poetic longing was expressed as if by Schubert himself. His vibrato was like the great Italian basso’s of old – a rare breed.

Debussy’s “Apparition” was beautifully sung by soprano Liana Guberman. Ms. Guberman’s passionate outbursts and the music evoked the score of Pelleas and Melisande and propelled us to a higher sphere.

Erik Larson beefed up all his vocal resources to beguile us with “I hear an Army” by Samuel Barber. His declarative skills combined with his expressive baritone made for compelling listening.

Emily Misch sang “Amor” from Brentano Lieder. This is a dazzling showpiece very much in the Zerbinetta league. Misch’s coloratura flights were spellbinding her vocal fireworks made the evening feel like the 4^th of July!

Soprano Sonja Krenek sang Samuel Barber’s “The Desire for Hermitage” in a powerful sumptuous soprano with a nice “dark” quality.

Tchaikovsky’s “None but the Lonely Heart” was given a powerful reading by mezzo soprano Anastasiia Sidorova. Her rich beautiful mezzo evoked memories of Eula Beal, her gown of orange poppies framed her like a portrait in the Hermitage.

Barbee Monk sang Strauss “Zueignung” with a soaring soprano well suited to the music’s almost Wagnerian flow. The finale is triumphant with expectation and hope. Ms. Monk was a herald of song.

Kevin Ray, Wagnerian tenor more than proved his versatility with a rousing and stirring Italian song made popular by Ezio Pinza and Giovanni Martinelli. His majestic and impassioned singing of “L’Ultima Canzone” by Paolo Tosti gave the night an Italianate flavor. His ringing note at the finale was thrilling as was his caressing tone throughout.

Josh Quinn sang Schubert’s “Fahrt zum Hades.” His bass baritone was pleasing and plangent, acting with his every word and gesture.

Steven LaBrie sang “Intima” by Esperon. His visceral baritone sang this Spanish song with the special brio and machismo and the spirit of the troubadour.

“Du bist die Ruh” by Schubert was sung by Sean Michael Plumb whose baritone seized every nuance from a pianissimo to forte with flair. He captured Schubert’s longing and gave us all a piece to take home.

The reception that followed allowed us the privilege of chatting with artists and friends. Sopranos Elinor Ross and Elaine Malbin, Michael Fornabaio Vice President, Cornelia Beigel Secretary and Karl Michaelis and Barbara Ann Testa Trustees from the Gerda Lissner Foundation, Gloria Gari from The Giulio Gari Foundation, Maestro Eve Queler as well as Glenn Morton and Ken Benson from Classic Lyric Arts, Scott Barnes acting and opera coach and Christine and Al Palladino from The Columbus Citizens Foundation and Brooklyn’s Bill Ronayne from The Mario Lanza Society.

An evening of song with young singers and friends made for a wondrous start of the holiday season in the Big Apple! We took a big bite and savored the delicious memory!