Category: Opera

Sasha Cooke/Kirill Kuzmin ~ how do I find you

Above: Sasha Cooke in a Stephanie Girard portrait

Author: Oberon

Thursday May 25th, 2023 – Mezzo-soprano Sasha Cooke presenting a program of songs she commissioned from some of the most distinctive composers of our time in a concert at Merkin Hall. This ambitious project was conceived by Ms. Cooke in 2020, at the height of the devastation of COVID-19, and many of the songs reflect a wide range of experiences tied to the pandemic, from the virus’s global effects to intimate, domestic stories of isolation and loneliness. Pianist Kirill Kuzmin was Sasha’s perfect musical partner for the evening.

In approaching the composers and lyricists for this project, Sasha had put no limits on subject matter. Of course, the pandemic was on everyone’s mind, but other important topics were brought forward: California wildfires, school shootings, current US politics, and the internment of Asian immigrants on Angel Island in the 19th and 20th centuries.

The artists took the stage to a sustained round of applause. Sasha looked radiant in a shimmering gown, and within a few moments we were basking in the glow of her wide-ranging voice and her thoughtful way with words.

Caroline Shaw wrote both the music and the words for the evening’s title song, how do i find you. In this lyrical, melodious piece, everything that is dear to me about Sasha’s voice came into play: the warmth of her timbre, the cushioned, unforced low notes and rapturous highs, and the sheer seamlessness of it all. And she is sounding more gorgeous and expressive than ever.

A five-note descending scale is a recurring motif in Ms. Shaw’s song, tailored so perfectly to the words. The music gets quite grand, and then briefly declamatory, before a final passage of sustained tones.

Listen (music by Kamala Sankaram, words by Mark Campbell) features some lovely writing for the piano, and explores a wide tonal range for the voice. There comes a great outpouring, and then a mix of pastel colors at the end. The poet’s words are simple yet infinitely moving: “Listen, as you would to the words of a dying friend…”

Risk Not One (music by Matt Boehler, words by Todd Boss) Sasha jumps right in, and a rhythm develops; The words are urgent: “Go for broke!” Sasha’s voice is big and rich here, and Kirill at the piano has lots of lively notes to play. Glorious singing, with a big finish.

Self-Portrait with Dishevelled Hair (music by Missy Mazzoli, words by Royce Vavrek) Inspired by Rembrant’s painting of the same name, and by the idea that a self-portrait captures a moment in time, the music veers from pensive to animated to moving. “I will paint you a self-portrait of me…so that you and I, separated by centuries, might lock into each other’s gaze.”

Spider (music by John Glover, words by Kelley Rourke) was one of my favorite songs on the program, though – to be honest – all the songs were favorites. The piano begins to ripple as the spider builds her web, and the music is thoughtful. Sasha’s voicing of the words is so clear…and then she begins to hum, like a lullaby.

MasksUsedToBeFun (music by Frances Pollock, words by Emily Roller) was the most political song of the evening. It’s a light-hearted take on serious matters. From a bright start, the words are sometimes sung and sometimes spoken. Full of irony – and finger snapping – the piece rushes along, eventually taking singer and pianist to the brink of madness. The final lines are a hymn to our beloved democracy, followed by a touching piano postlude.

(During a Q & A after the performance, a woman in the audience asked why “we” (left wingers) don’t reach out to “them” (the right wingers). The answer is simple: “they” are inflexible, cannot be reasoned with, nor think of anything other than imposing their beliefs on everyone else, and getting their own way – by hook or by crook. That’s why “we” end up “talking to ourselves”, as the woman so blithely put it.)

Everything Will Be Okay (music by Christopher Cerrone, words by John K. Samson) was another favorite of mine; it tells of the recovery of a lost ‘treasure’. The song grows from a low start via simple voice and piano lines to a more dramatic passage before finding a tranquil ending, as peace of mind is restored.

After the Fires (music by Lembit Beecher, words by Liza Balkan) is a poetic narrative recalling the California fires of 2020, wherein the writer tells of returning home after the devastation. “There’s a feeling of memories having been erased along with the place.” The music covers a wide dynamic range, and the role of the piano is key. The song becomes very reflective, and finishes with a sense of quiet resignation. I loved watching Sasha sing this piece.

(A Bad Case of) Kids (music by Andrew Marshall, lyrics by Todd Boss) is a drunken song, and Sasha’s take on it made me think of Flicka von Stade’s hilarious PERICHOLE aria. A poor bloke is stuck at home with the kids all day, day after day. He pleads: “Find me a bed on the topmost floor, far from the cries of the maternity ward!” Sasha and Kirill had a blast with this song, which is quite operatic at times. The music rolls along, like something out of a music hall revue: a vivid finale to the concert’s first half.

The Work of Angels (music by Huang Ruo, words by David Henry Hwang), which tells of Angel Island and the Chinese Exclusion Act of 1882, where Asian immigrants were held, some for months…or even years. Of course this made me think of my beloved Wei, and the ongoing threats to Asians in this country. The singing is intimate, contrasting with some grand passages for the piano. The sound of the words becomes hesitant, as if afraid to speak of the things that happened to these people. It was some of the most poignant music we heard tonight, and it ends with a wordless vocalise.

Altitude (music by Timo Andres, words by Lola Ridge), an enigmatic and strangely captivating song, in which Sasha almost compulsively repeats words whilst Kirill plays dotty accents. Then Sasha concludes this unique song in a gorgeous high phrase.

Still Waiting (music by Joel Thompson, words by Gene Scheer) is the harrowing tale of a mother in this age of school shootings. Reassuring at first, humming to herself, the woman misses a text from her daughter telling of a shooter in the school, followed by a second text: “”I’m OK, We’re evacuating. I love you.” This brings a huge outpouring of voice. In the final unaccompanied passage, Sasha almost lost control. I imagine this song is very difficult for a mother to sing, but it needs to be heard.

In the Q & A at the program’s end, Sasha spoke of her difficulty in deciding what should follow Still Waiting. She chose That Night (music by Hilary Purrington, words by Mark Campbell), a long and rambling paean to the vitality and chaos of New York City life. It was a lot of fun to watch Sasha toss off the words; despite all the extroversion, the song has a thoughtful finish.

Inward Things is Nico Muhly’s setting of a text by the 17th century English poet and theologian, Thomas Traherne. Muhly fashioned the piece so compellingly, and Sasha brought opulent tone and an engaging dynamic palette to bear on this beauteous music. The song’s end was especially sublime.

Dear Colleagues (music by Rene Orth, words by Colleen Murphy) details the abundant problems masses of people faced during the pandemic while trying to work from home where kids, pets, and daily domestic stuff keep interrupting. The song is a working mother’s melodrama, which Sasha sang and acted with flair, whilst Kirill relished the choice piano interjections. The song has a hilarious ending.

The Hazelnut Tree (words and music by Gabriel Kahane) tells of emerging from the confines of the indoors, of newspapers and television screens, into the natural world where we can find the true beauty of life. Mr. Kahane gives the words a fine melodic flow, which Sasha voiced so persuasively.

Where Once We Sang (music by Jimmy López Bellido, words by Mark Campbell) marked the end of the evening. From the title, we knew what it would be about: lost time, lost opportunity…the pandemic months depriving musicians, dancers, and performing artists of their reason for living. Some were taken from us, others gave up. And by the time it was deemed safe again, the lost days were irretrievable.

From the song’s unaccompanied start, Sasha conveyed everything those of us for whom music is our lifeblood felt and feared throughout those dark days. The song grows in fervor, which is then becalmed, and a sense of hope and quiet rapture settles over us.

What I will always remember about this evening is the great pleasure of having been in that space with that voice.

~ Oberon

May 25, 2023
Composer Portraits: Suzanne Farrin

Above: composer Suzanne Farrin at the ondes Martenot; photo by Rob Davidson

Tuesday May 23rd, 2023 – The final program of the season in the Miller Theatre’s unique Composer Portraits series featured Suzanne Farrin, who hails from a small town on the Maine coast. It was an incredible musical experience which moved me deeply.

Two fascinating singers – soprano Alice Teyssier and countertenor Eric Jurenas – joined virtuoso members of the International Contemporary Ensemble for an evening of magical music-making, with conductor Kamna Gupta leading the large ensemble works, and the composer joining in for the program’s world premiere finale, playing the ondes Martenot. Special kudos to audio engineer Caley Monahon-Ward and lighting designer Philip Treviño for their expertise in making it a memorable evening in every possible way.

I knew nothing about Ms. Farrin’s work until this evening; in the days leading up to the performance, I read her bio but didn’t sample any of her compositions, as I like to be introduced to new music live whenever possible. All day, I felt an odd sense of anticipation for the concert, as if something special was about to happen. This was prophetic: from first note to last, the program mesmerized me.

Five excerpts from Ms. Farrin’s 2016 opera, dolce la morte, were presented during the evening. I cannot imagine anything that could more perfectly have captivated my imagination than the opening measures of the aria unico spirto, which begins with oboe (Kemp Jernigan) and bassoon (Rebekah Heller) on a sustained tone. Matching the pitch, countertenor Eric Jurenas joins them with a straight tone of unearthly beauty. Mr. Jurenas’s fantastical voice was heard with a subtle halo of echo, evoking an ancient world which lingers only in the imagination.

Above: Kyle Armbrust (viola), Evan Runyon (double bass), conductor Kamma Gupta, and countertenor Eric Jurenas; photo by Rob Davidson

Odd harmonies from the wind players wrap around the vocal line; the texts are drawn from letters of Michelangelo to the young Italian nobleman Tommaso dei Cavalieri, and Mr. Jurenas voiced them with a spine-tingling air of sensuality. Near the end, Evan Runyon’s double bass introduces tension with a shivering tremolo. The aria ends with the singer’s magical voice fading into thin air.

The other excerpts from dolce la morte were interspersed thru the concert’s first half. The first of these was come serpe in which Mr. Jurenas’s timbre was almost unbearably gorgeous. Bassoonist Rebekah Heller displayed amazing breath control, whilst double bassist Evan Runyon brought forth tones from the depths. At times, the music seemed to be reaching us from a distant galaxy.

veggio found the countertenor veering between the ethereal and the dramatic; his is an uncanny sound, delighting me constantly with its kozmic beauty. The ensemble meanwhile sighed, trembled, and groaned, with pulsing notes played pianissimo by the bass, and insistent high notes beaming from Nuiko Wadden’s enchanted harp.

In an oboe solo from the opera, l’onde della non vostra, Kemp Jernigan summoned squawking, stuttering, twittering sounds, along with trills and sagging tones, before rising to a high finish. From there, Mr. Jurenas took up the oboe’s final note and commenced rendete, the final excerpt from dolce la morte. His voice blended marvelously with the oboe and bassoon, soon joined by violinist Josh Modney, violist Kyle Ambrust, and cellist Clare Monfredo. Ms. Wadden’s harp twinkled in the high range as the singer ventured upward. There were shivering motifs from Mr. Runyon’s bass, leading to a big, grinding sound from the ensemble. Overall, the heavenly voice of Mr. Jurenas sounded with utter clarity.

Backtracking, the concert’s first half had offered soprano Alice Teyssier (above, photo by Rob Davidson) in Il Suono (from 2016) in which Ms. Wadden’s harp sounded in skittering passages and entrancing melismatic flourishes whilst Ms.Teyssier’s voice floated dreamily on the air, with straight tones of alluring purity.

Above: Nuiko Wadden; photo by Rob Davidson

Three works for solo instruments put members of the International Contemporary Ensemble in the spotlight. The first of these was polvere et ombra (2008) for harp, in which Ms. Wadden delivered swirls of notes and cascading glissandi, followed by some crisp plucked notes. The piece ends with the strings being gently brushed, almost a caress.

Above, the evening’s string contingent: John Modney (violin), Clare Monfredo (cello), Kyle Armbrust (viola), and Evan Runyon (double bass); photo by Rob Davidson

In Time is a Cage (2007), violinist John Modney produced a wide range of sonic motifs: tremolos and trills, and passages of fluttering, buzzing, slithering sounds. In the piece’s most delicate moments, the music went from being impressive to being spellbinding.

Following the interval, cellist Clare Monfredo (above, photo by Rob Davidson) played corpo di terra (2009). From quietly tapping the strings, trills carried the music to a discordant passage. After rising to quiet, repeated notes, and a feeling of quivering, the cello drops to a drone. A lullaby-like motif turns astringent, and then rather ominous. Calming, the strings are gently brushed. There follows a sort of coda, with an upward rush to a sort of oozing sound, ending in a trembling state. Ms. Monfredo took all of this in stride, making the music feel like a poem that expresses many moods.

Above, Evan Runyon, Nathan Davis, Alice Teyssier, and Suzanne Farrin; photo by Rob Davidson

Concluding the evening, the world premiere of Ms. Farrin’s Their Hearts are Columns (2020) brought together Mlles. Teyssier and Wadden, Mr. Runyon, percussionist Nathan Davis, and the composer herself, seated at the ondes Martenot. This work, a setting of poems about love and its meaning to the woman’s character, begins with quiet drumming and bass tones, and then the voice of Ms. Teyssier emerged, remote and beckoning. The sound of the ondes Martenot entices the ear, like the soundtrack of a dream. The entwining timbres of this unique instrument with the bass, harp, and percussion made for some extraordinary textures, An unexpected outburst from the singer brings the work to a sudden end.

In a mid-concert interview with the Miller’s Melissa Smey, Ms. Farrin spoke of the essential elements for living in our increasingly disquieting world: compassion and empathy. This confirmed what I felt while listening to her music: she and I are on the same wave-length,

~ Oberon

May 23, 2023
ORPHEUS: A Paul Robeson Celebration & “Egmont”

~ Author: Oberon

Saturday May 20, 2023 – ORPHEUS presenting the world premiere of Jasmine Barnes’ Songs of Paul, celebrating the 125th birthday of the great singer/activist Paul Robeson; this was followed by Beethoven’s Egmont in an arrangement by Andreas Tarkmann, with a new translation of the narrative by Philip Bohem. Soprano Karen Slack and baritone Will Liverman were the excellent soloists for the Barnes, and Ms. Slack also sang the soprano arias in the Beethoven, sharing the stage with the inimitable Christine Baranski, who was the Narrator.

Above: Paul Robeson

Ms. Barnes’ new work was warmly received by the audience tonight; her arrangements are beautiful, and were finely played by the artists of ORPHEUS. Sometimes the music seemed too symphonic, detracting a bit from the voices; I grew up hearing these songs on my grandmother’s 78s, with Lawrence Brown playing piano, and the orchestral settings tonight at times felt too glossy. Be that as it may, the songs were superbly sung by Will Liverman (“Didn’t My Lord Deliver Daniel?”, “Deep River”, “Swing Low, Sweet Chariot”, and “Sometimes I Feel Like a Motherless Child”) and Karen Slack (“There’s A Man Going Round Taking Names” and “My Soul’s Been Anchored in the Lord“). The two singers joined together for a grand finale, starting with the profound “Go down, Moses” which gave way to the rousing “Joshua Fit the Battle of Jericho“. Both singers sounded marvelous in the great Hall; composer Jasmine Barnes joined them for a bow, to loud cheers from the crowd.

The Beethoven did not seem the right companion piece to the Robeson fest this evening; though both Paul Robeson and Lamoral of Egmont were idealists and freedom fighters, that is their only real connection. There was a feeling of restlessness in the Hall as the Beethoven went on, and at least four different cellphones went off, which was distracting. At any rate, Egmont is not one of Beethoven’s masterpieces; the music mostly feels dutiful rather than inspired.

The historical story of Lamoral of Egmont (above) began in Brussels, in the second half of the 16th century. The Low Countries, under the heavy yoke of Philip II and his Spanish Inquisition – reference Verdi’s DON CARLO – found their civil rights curtailed and the Protestant movement crushed. Egmont, although himself a loyal Catholic, went to Madrid to plead for clemency for the Protestants. He was received with honors by King Philip, but when Egmont returned to his homeland, the king sent the Duke of Alva to Brussels to squash all resistance to Spain’s will. Egmont was imprisoned and eventually executed for treason; his martyr’s death roused the Lowlanders to rebel and cast off their Spanish overlords.

Beethoven took up the tale of Egmont in 1809, when he was commissioned to compose incidental music for the Vienna premiere of the Goethe play. Beethoven composed a set of musical numbers for Egmont, beginning with the dramatic overture, now a free-standing staple of the concert repertory. There are four entr’actes, two songs for Klärchen, and the final scenes of Egmont’s trial and death. It ends with Egmont’s exultant call to the people to overthrow their oppressors: “Defend your land! And to liberate your loved ones, give yourselves joyously, as I do now, for you!”

Ms. Baranski, clad all in white, read the narrative, which veers from poetic to melodramatic, with her distinctive voice and innate sense of drama. Ms. Slack sang Klärchen’s two brief arias attractively. The orchestra – all evening – played splendidly, with several notable solo passages for the winds.

~ Oberon

May 21, 2023
ORPHEUS: A Paul Robeson Celebration & “Egmont”

~ Author: Oberon

Saturday May 20, 2023 – ORPHEUS presenting the world premiere of Jasmine Barnes’ Songs of Paul, celebrating the 125th birthday of the great singer/activist Paul Robeson; this was followed by Beethoven’s Egmont in an arrangement by Andreas Tarkmann, with a new translation of the narrative by Philip Bohem. Soprano Karen Slack and baritone Will Liverman were the excellent soloists for the Barnes, and Ms. Slack also sang the soprano arias in the Beethoven, sharing the stage with the inimitable Christine Baranski, who was the Narrator.

Above: Paul Robeson

Ms. Barnes’ new work was warmly received by the audience tonight; her arrangements are beautiful, and were finely played by the artists of ORPHEUS. Sometimes the music seemed too symphonic, detracting a bit from the voices; I grew up hearing these songs on my grandmother’s 78s, with Lawrence Brown playing piano, and the orchestral settings tonight at times felt too glossy. Be that as it may, the songs were superbly sung by Will Liverman (“Didn’t My Lord Deliver Daniel?”, “Deep River”, “Swing Low, Sweet Chariot”, and “Sometimes I Feel Like a Motherless Child”) and Karen Slack (“There’s A Man Going Round Taking Names” and “My Soul’s Been Anchored in the Lord“). The two singers joined together for a grand finale, starting with the profound “Go down, Moses” which gave way to the rousing “Joshua Fit the Battle of Jericho“. Both singers sounded marvelous in the great Hall; composer Jasmine Barnes joined them for a bow, to loud cheers from the crowd.

The Beethoven did not seem the right companion piece to the Robeson fest this evening; though both Paul Robeson and Lamoral of Egmont were idealists and freedom fighters, that is their only real connection. There was a feeling of restlessness in the Hall as the Beethoven went on, and at least four different cellphones went off, which was distracting. At any rate, Egmont is not one of Beethoven’s masterpieces; the music mostly feels dutiful rather than inspired.

The historical story of Lamoral of Egmont (above) began in Brussels, in the second half of the 16th century. The Low Countries, under the heavy yoke of Philip II and his Spanish Inquisition – reference Verdi’s DON CARLO – found their civil rights curtailed and the Protestant movement crushed. Egmont, although himself a loyal Catholic, went to Madrid to plead for clemency for the Protestants. He was received with honors by King Philip, but when Egmont returned to his homeland, the king sent the Duke of Alva to Brussels to squash all resistance to Spain’s will. Egmont was imprisoned and eventually executed for treason; his martyr’s death roused the Lowlanders to rebel and cast off their Spanish overlords.

Beethoven took up the tale of Egmont in 1809, when he was commissioned to compose incidental music for the Vienna premiere of the Goethe play. Beethoven composed a set of musical numbers for Egmont, beginning with the dramatic overture, now a free-standing staple of the concert repertory. There are four entr’actes, two songs for Klärchen, and the final scenes of Egmont’s trial and death. It ends with Egmont’s exultant call to the people to overthrow their oppressors: “Defend your land! And to liberate your loved ones, give yourselves joyously, as I do now, for you!”

Ms. Baranski, clad all in white, read the narrative, which veers from poetic to melodramatic, with her distinctive voice and innate sense of drama. Ms. Slack sang Klärchen’s two brief arias attractively. The orchestra – all evening – played splendidly, with several notable solo passages for the winds.

~ Oberon

May 20, 2023
Nelsons/BSO: Mozart/Adès/Sibelius @ Carnegie Hall

Above: Maestro Andris Nelsons; photo by Fadi Kheir

Author: Ben Weaver

Tuesday April 25th, 2023 – The Boston Symphony Orchestra, under the baton of their music director Andris Nelsons, returned to Carnegie Hall last week. The concert of April 25th, 2023 was a marvelous evening of music by Mozart, Adès, and Sibelius, featuring two outstanding soloist artists.

The great Anne-Sophie Mutter (above, photo by Fadi Kheir) performed two works: Mozart’s Violin Concerto No. 1 in B-flat major, KV 207 and the New York premiere of Thomas Adès’ Air (Homage to Sibelius) for Violin and Orchestra.

Mozart’s violin concertos have been part of Mutter’s repertoire for her entire career; it’s music she has played and internalized, and performances she has perfected, through the years. The magical performance on Tuesday night of the 1st Concerto, composed in 1773, was essentially perfect. Mutter’s golden, rich, steady tone never wavered; the soulfulness of her playing made the audience lean in. Mozart’s virtuosic writing gave Mutter no difficulties; she dispatched every run, double stop, and trill with absolute ease.

The new composition by Adès, Air (Homage to Sibelius), is a very different work from Mozart. Composed for Ms. Mutter in 2022, it’s a single-movement, semi-minimalist work (running about 13 mins) that lets the soloist stay in the upper reaches of the instrument for almost its entire run time. While the soloist played a canon – Ms. Mutter’s perfect control and steadiness were wondrous to hear – the orchestra shifted the landscape through orchestration and rhythms. Maestro Nelsons shepherded the forces around Ms. Mutter beautifully, the BSO letting the music ebb and flow. While Mr. Adès explicitly says Air is an homage to Sibelius, I heard more Arvo Pärt and John Adams than Sibelius.

Above: soprano Golda Schultz sings Sibelius; photo by Fad Kheir

Two works by Sibelius book-ended the evening’s program. The vocal tone poem Luonnotar, Op. 70, is one of Sibelius’ most mystical and magical works. With text taken from the first “song” of the Finnish epic national poem Kalevala (a work that inspired several other major works from Sibelius), it tells the story of the (non-religious) Creation. The huge leaps and range of the vocal writing makes Luonnotar one of the most demanding works for a soprano, and South African soprano Golda Schultz was mesmerizing. Her rich voice is even throughout the range, even in the uppermost reaches it remains creamy and ravishing. Her breath control ensured she never ran out of air for Sibelius’ long and achingly beautiful melodies. Maestro Nelsons was sensitive to never let the orchestra drown out the singer. This is a work I wish would be performed more often.

Above: Maestro Nelsons and the BSO; photo by Fadi Kheir

The concert ended with an expansive performance of Sibelius’ Symphony No. 5 in E-flat major, Op. 82. Sibelius’ sound-world is really like no other. I don’t think there is another composer who composed music of such surging coldness and brilliant light. You can feel the winds sweeping across the snow and the icy water glistening in the Sun. The episodic nature of Sibelius’ writing, in the hands of lesser conductors, can be difficult to stitch together. Maestro Nelsons managed it beautifully, and the Boston Symphony – which has a long history of playing Sibelius – responded to every nuance. The orchestra’s marvelous brass section deserves special recognition here because the very exposed writing for the horns in the first and third movements was played perfectly by the ensemble. The final movement, one of Sibelius’ most famous compositions, with the majestic tolling of the horns and sweeping melody from the strings, is one of those rare truly breathtaking glories of music. It’s interesting that this overwhelming section – supposedly inspired by a flock of swans he watched passing overhead – is only played in all its Romantic glory once. When it is repeated in the second half of the movement, it changes to a darker, almost sinister tone. And the work ends with 4 chords and 2 unisons – broken by pauses. A stark and startling conclusion.

The Boston Symphony is second to none playing Sibelius; years ago Sir Colin Davis – one of the great exponents of the Finnish bard’s music – played and recorded his works with the BSO extensively. Andris Nelsons doesn’t miss a beat.

Performance photos by Fadi Kheir, courtesy of Carnegie Hall

~ Ben Weaver

April 28, 2023
FLIEGENDE HOLLANDER ~ NYCO 1977

Above: Guillermo Sarabia as the Dutchman

Audio-only performance of Wagner’s Der Fliegende Holländer performed at The New York City Opera in 1977, conducted by Julius Rudel, with the following cast:

Holländer – Guillermo Sarabia
Senta – Johanna Meier
Daland – Ara Berberian
Erik – Richard Taylor
Mary – Diane Curry
Steuermann – Jerold Siena

Listen here.

Ms. Meier, Ms. Curry, and Mr. Berberian were all great favorites of mine, and I saw Mr. Sarabia’s Dutchman twice: once in Houston and later in Springfield, Massachusetts. Mr. Siena sings the Steersman beautifully.

April 27, 2023
Graham Classics + New Works ~ 2023

Above: from Annie Rigney’s new work for the Martha Graham Dance Company, GET UP, MY DAUGHTER

Sunday April 23rd, 2023 matinee – Two Graham masterpieces and two recently-premiered works new to the Graham Company repertoire held the stage at the Joyce Theater this afternoon.

DARK MEADOW SUITE, one of Graham’s most beautiful works (with an equally beautiful Carlos Chávez score) opened the performance. At curtain-rise, the women are posed like icons, with Anne Souder slightly removed from the others. They begin stamping their feet. A plaintive violin theme is heard, joined by the cello. The women move with classic Graham steps and gestures; Ms. Souder is simply sublime.

Now Lloyd Knight (above) appears, striking poses in a spellbinding opening solo which develops into a stage-filling dance. Ms. Souder joins him for a duet in which an electric current seems to pass between them; their intimate partnering is at once sensual and ritualistic.

The kneeling men hold the women in a uniquely lovely leaning, questing pose, symbolic of seeking or longing; Ms. Souder and Mr. Knight continue to reign in duet and solo phrases: unbearably tender and heartfelt.

Aside from the principal couple, the cast for MEADOW today featured Leslie Andrea Williams, Laurel Dalley Smith, Marzia Memoli, Devin Loh, Kate Reyes, Jacob Larsen, Richard Villaverde, and new-to-Graham James Anthony.

Above: Marzia Memoli and So Young An in Annie Rigney’s GET UP, MY DAUGHTER; photo by Steven Pisano

Ms. Rigney’s debut piece for Graham opened earlier in the week. It is a harrowing work, set to a thrilling score by Marco Rosano which incorporates Bulgarian folk music with original themes by the composer, and with stunning lighting by Yi Chung-Chen. It tells a story similar to one that I heard long ago from my high-school girlfriend.

A quartet of young women in satiny frocks – So Young An, Anne O’Donnell, Anne Souder, and Marzia Memoli – dance together to chanted harmonies. They seem wary, full of angst and longing.

Above, in a Melissa Sherwood photo: Richard Villaverde makes a disturbingly powerful impression as the man of the house, who singles out So Young An as his partner of the moment in a dramatic duet of control, resistance, and resignation. The music is solemn, with the haunting voice of the great counter-tenor Andreas Scholl bringing a timeless feel.

Ying Xin joins the sisterhood, who have apparently been drugged into near stupor; while heavenly harmonies are heard, they seem to plan an escape but lack the strength to attempt it. The organ joins the musical soundscape, lending a curiously religious air. Mr. Villaverde returns; the women tremble in fear. Drums thunder forth, and the piece ends suddenly.

Above: Ying Xin, Marzia Memoli, and So Young An in GET UP, MY DAUGHTER; photo by Steve Pisano

Why this work affected me so deeply lies in recalling my girlfriend’s experience, of which I was unaware at the time. For three years, her father routinely raped her, her two older sisters, and her younger brother. I was aware of the extreme tension she endured living in a home with a drunken father, but I never knew about the sexual side of it until a few years later, after she had escaped and moved to Washington DC. I only knew how she clung to me in our tender, juvenile – but curiously “knowing” – love-making. Her father eventually blew his brains out.

Above: from CORTEGE 2023, with Ruchard Villaverde kneeling; photo by Steve Pisano

Equally thought-provoking this afternoon was the second darkly powerful new work, CORTEGE 2023, set to a score by Aidan Elias and choreographed by Baye & Asa. This piece spoke of the dangerous world in which we now live: scenes of violence, torture, and isolation alternate with depictions of mourning and consolation.

Chimes sound at curtain-rise as a diagonal of dancers are seen covered by a shroud, which is slowly pulled away as the dancing starts. The lighting (again by Yi-Chung Chen) flashingly isolates various tableaux of people under duress: prisoners, the interrogated, the isolated, the bereaved.

Lloyd Knight’s solo (above photo by Melissa Sherwood), set to sinister music, is riveting. Rhythmic variety, and ritualistic acts, carry the piece eerily forward. Anne O’Donnell’s solo is so expressive, and James Anthony has an opportunity to shine.

Above: Lorenzo Pagano and the ensemble; photo by Steve Pisano

Violence has become a fact of life, as indicated by a cataclysmic buildup of brass in the score. An animated quartet become a hypnotic sextet: the movement is non-stop. Deep chords invoke feelings of doom; and then, as silence falls, the vast shroud is used as a cover-up.

The afternoon ended with a spectacular performance of Martha Graham’s take on the Medea story: CAVE OF THE HEART. The Metropolitan Opera’s 2022-2023 season opened with the Met’s first-ever performance of Cherubini’s MEDEA starring the inimitable Sondra Radvanovsky, so the story is fresh in the memory.

Leslie Andrea Williams (above, in a Melissa Sherwood photo) radiated her distinctive star-power in a performance that brought the character’s double personality – abandoned lover and conniving sorceress – vividly to life. When she is not doing, she is always thinking; Leslie’s expressive face, and her eyes – ever scanning the scene for what damage she can do – are as vital to her playing of the role as her dancing.

Laurel Dalley Smith (photo above by Melissa Sherwood) gave a dazzling performance as the naive bride, basking in Jason’s attentive courting, unaware of the doom that awaits her.

Lorenzo Pagano as the proud Jason, looking to be King of Corinth whilst scorning the woman who made it all possible, pays the cost of his betrayal. His earlier show of pride, taunting Medea with his worshipful wooing of the young princess, plunges him headlong into disaster. (Photo above by Melissa Sherwood).

Presiding overall, and striving in vain to prevent the ultimate catastrophe, the marvelous Natasha S. Diamond-Walker – a Graham goddess if ever there was one – conveyed both the dignity and the anxiety of the all-knowing Chorus in perfect measure. (Photo above by Melissa Sherwood).

It surprises me that Martha Graham did not bring the children of Medea and Jason into her telling of the story. The two young boys are a key element in the Cherubini opera, wherein Medea surpasses the cruelty of murdering Jason’s betrothed by knifing the youths. She flings their bloody corpses at Jason’s feet; aghast, he asks her: “What was their crime??” to which she calmly replies: “They were your children…”

Following the performance, I went downstairs to greet and thank the dancers, and was thrilled to see again – after waaaay too long – two of my Graham idols, Blakeley McGuire and Carrie Ellmore-Tallitsch.

~ Oberon

April 23, 2023
Ralph Vaughan Williams ~ A SEA SYMPHONY

Above: Ralph Vaughan Williams

Author: Oberon

Friday April 21st, 2023 – The Choral Society and Orchestra of Grace Church presenting a performance of Ralph Vaughan Williams’s A SEA SYMPHONY, conducted by John Maclay, with soloists Tami Petty (soprano) and Hadleigh Adams (baritone).

Vaughan Williams selected for the first three movements of A SEA SYMPHONY three poems from Walt Whitman’s Leaves of Grass. The symphony’s first two movements are entitled “A Song for All Seas, All Men” and “On the Beach at Night Alone.” The third movement, called in the symphony “The Waves“, is Whitman’s poem in the same series entitled “After the Sea Ship.” For the fourth and longest movement, entitled “The Explorers“, the composer chose lines from widely scattered excerpts of another lengthy sub-section of Leaves of Grass entitled “Passage to India.”

In all four movements, the composer tightened up the poetry to best serve his musical vision of the boundless sea. From the first brass fanfare proclaiming the words “Behold the Sea!” to the mystical choral invocation of a “…vast rondure, swimming in space“, words and music align to depict both the epic grandeur and the meditative power of the planet’s oceans.

This evening was very frustrating for me, as I have waited years to hear this work performed live. The audience included many people who brought small children, and of course, two such youngsters were seated directly in front of us. After being reasonably well behaved during the first movement, they became fidgety and restless. The parents basically ignored their antics, especially during the long final movement. My companion and I were exasperated by the situation: yet another case of the triumph of people who don’t care over people who do.

Musically, the evening got off to an uneven start. The balance between the orchestra, the huge chorus, and the soloists was off; the blend became mushy and most of the words were incomprehensible. The symphony’s great opening movement therefore went for nought. Things improved greatly during the second and most haunting movement, “On the Beach at Night Alone” and the ensuing scherzo, “The Waves“, was well done. In the over-long final movement, the composer seems to have been unable to decide how to end the piece: he would periodically venture into a cul de sac, delaying the inevitable.

The evening’s soloists are both possessed of fine voices. Baritone Hadleigh Adams was sometimes overwhelmed by the orchestra in the opening movement, but that is the conductor’s fault. Mr. Adams came into his own with a wonderful rendering of “On the Beach at Night Alone” where his expressive singing and fine timbre could be deeply enjoyed. An eloquent passage for solo cello enhanced the singing, making this the highlight of the evening.

Soprano Tami Petty has a clear, sweet voice that blooms as it ascends; in this regard, she reminded me of Helena Dix, the Australian soprano who sang Norma at The Met earlier this year. Ms. Petty sounded truly lovely in the big Hall, making me hope she’ll have a go at the Verdi REQUIEM here someday soon.

Above, bowing during the massive standing ovation at the concert’s end, are Ms. Petty, Maestro Maclay, and Mr. Adams; photo by Brian Hatton.

I don’t anticipate another opportunity to hear A SEA SYMPHONY here in New York City again in my lifetime, but I have the marvelous Grammy Award-winning Telarc CD of it with the Atlanta Symphony Orchestra and Chorus, conducted by Robert Spano, and wonderful soloists Christine Goerke and Brett Polegato that I can turn to.

~ Oberon

April 21, 2023
Arensky & Brahms @ Chamber Music Society

Above: violinist Bella Hristova, photographed by Lisa-Marie Mazzucco

Author: Oberon

Tuesday March 28th, 2023 – Works by Anton Arensky and Johannes Brahms were on the bill at Chamber Music Society of Lincoln Center this evening as violinist Bella Hristova, cellist Dmitri Atapine, and pianists Wu Qian and Wu Han teamed up for some magical music-making.

The concert commenced with Arensky’s Six Children’s Pieces for Piano, Four Hands, Op. 34, composed in 1894. These charming miniatures found our two pianists side by side at the Steinway, with Wu Han presiding over the upper octaves and Wu Qian the lower.

To give the pieces their English titles, we start with Fairy Tale which begins in the minor key, has a folkish feeling, and then becomes quite dramatic. Wu Han plays a series of decorative trills as the music ranges from hesitant to animated. Then, Wu Qian plays the familiar two-note birdcall that signals the delightful Cuckoo bird is nearby. This is a sprightly little piece with a subtle finish. The mood changes for Tears, which has the feel of a lament, with a deep bass line supporting a hymn-like melody. The ending is very quiet.

Rippling motifs underscore the lovely Waltz, which gets quite bouncy. A passing reverie turns expansive before fading away, as if the dance was continuing in another room. Cradle Song appropriately has a slow, rocking feeling; the melody is that of a gentle lullaby. The concluding Fugue on a Russian Theme is tuneful and jovial. The music turns grand, and the two pianists have a grand time playing it.

Listening to Bella Hristova and Dmitri Atapine (above), joined by Wu Qian, play the Arensky Trio No. 1 in D -minor for Piano, Violin, and Cello, Op. 32, makes one wonder why we don’t hear more of this composer’s gorgeous music. He wrote copiously for solo piano, and numerous chamber works as well. And why cannot we hear more of his large orchestral works – which include two symphonies – or his choral pieces? He also wrote three operas, which must be wonderful to experience.

At any rate, we must be thankful for any opportunity to hear the music of this pupil of Tchaikovsky, especially when it as a luminously played as this evening. The introductory theme of the opening Allegro moderato, first played by Ms. Hristova and then taken up by Mr. Atapine, is hauntingly beautiful. These virtuosos bring such richness of timbre to everything they play, and this trio – a veritable font of melody – affords them so many opportunities.

It is restless, passionate music, interrupted by a Springlike interlude in which Wu Qian spins lovely swirling passages from the Steinway. Now a sense of drama takes hold; the opening theme recurs, played – if it’s possible to imagine – even more thrillingly. There is a coda full of lyrical grace before the movement ends quietly.

The ensuing Scherzo opens with an odd, stuttering quality. There are crisp plucking and jaunty melodies to be savoured, whilst at the keyboard Wu Qian offers cascades of notes decorated with lively trills. Now a swaying feeling takes over, and the music gets grand. After a brief hesitation, the stuttering resumes and the Scherzo comes to its whimsical finish.

The evocative Elegia is the heart of the trio: Mr. Atapine opens with a pensive theme, then the string voices entwine as Wi Qian introduces poetic phrases from the keyboard. The music seems to evoke the memory of a lost love as the gently rocking strings sound over the quiet rapture evoked by the pianist. Ms. Hristova in her high range, the pianist pulsing quietly, and Mr. Atapine plucking ever so gently give the music an ethereal quality. Ms. Hristova takes up an autumnal melody as Mr. Atapine’s deep resonance sounds and the music fades away on a sustained chord.

A reverential silence filled the hall, and then the agitated drama of the final Allegro non troppo sprang up. Things cool off, melodic phrases are exchanged, but then restlessness builds and the music becomes impassioned. From a sudden silence, Wu Qian’s shimmering notes are heard as the strings sing softly. The music ascends, and becomes reflective with the poignant violin and the soulful cello sounding. Then, out of the blue, a bustling rush to the finish line springs up.

The music of Johannes Brahms took the limelight after the interval: our two pianists returned for selections from the composer’s Hungarian Dances for Piano, Four Hands; Wu Qian was now playing the upper range and Wu Han the lower. These delightful pieces were written between 1868 and 1880, and they are chock full of rhythmic and melodic variety, spiced with a dose of paprika. The two women seemed to be having a blast playing them, much to the audience’s delight.

Bringing the evening to its close, Wu Han, Ms. Hristova, and Mr. Atapine illuminated the Brahms Trio in C-major Op. 87, with sumptuous playing.

In the opening Allegro, a unison theme for violin and cello develops int something big ad thrilling. When cal finally settles in, a sense of yearning is felt. The textures created by the three players are rich indeed, each displaying alluring tone that meshes into a persuasive whole. Epic grandeur develops as we relish Wu Han’s superbly polished playing, which takes the movement to a royal finish.

Unison strings again herald the Andante con moto: a theme with five variations. The music takes on a gypsy air, reflecting Brahms’ interest in Hungarian music, which began in his youth. Here the blend achieved by our three artists was nothing short of remarkable, continually drawing me in to the music, which reaches a touching, quiet ending.

In the brisk Scherzo, I sensed a Mendelssohnian enchantment. Lush melodies sprang up, and there’s a songful outpouring before a feeling of Puck lurking about returned at the music’s sudden stop.

From its opening agitato, the concluding Allegro giocoso brings an abundance of delicious melodic and rhythmical treats, and the Mendelssohn mood continued to be felt. The musicians were warmly cheered as they took their bows, and I simply must mention Ms. Hristova’s bejeweled shoes, which added an extra sparkle to an already brilliant evening.

~ Oberon

March 28, 2023
25 Years in Gotham

Above: 118 Perry Street, my first NYC home; the building has been painted since we lived there

March 28th, 2023 – Today marks the 25th anniversary of my move to New York City; after spending 22 years in Hartford, working at a thankless job with a bunch of wonderful people, I was ready to achieve my long-held goal of being a New Yorker before my 50th birthday.

Within two weeks of arriving in The City, I met Wei (above)…and I started a job in the opera room at Tower Records. My friends Paul and Tom had rented me their studio on Perry Street, and Wei and I were very cozy there for five years – a time period that included the 9/11 terrorist attack on the World Trade Center. I’ll never forget that morning, and rushing down to the street to see smoke pouring out of the Tower.

My friend Richard (above) came down often during those years. and continued to do so until his untimely death in 2016.

In 2003, Paul and Tom wanted their studio back, so Wei and I moved up to inwood. After a few weeks of feeling disoriented, I came to love it up here. Now, as the third act of my life/opera draws to a close, I keep wondering what the fourth act has in store for me. My friend Dmitry says, “The fourth act is the ballet!”

March 27, 2023