Maledizione.. strikes again

After numbers of RIGOLETTOs seen and heard, Verdi's musical power never fails to draw me in, wring me out and leave me wanting MORE. And so it was last night at HGO.
I am sure you all know the story by now.

Amoral Duke dishonors females. Revengeful jester plots to have him killed, which is foiled by another female who saves the Duke first, then by jester's daughter, still enamored despite all, who dies in his stead! That's it in a nutshell.
However, perhaps due to my encroaching age, and past life experiences (lol) I found a "new"? insight. Did Verdi mean this a morale?
The Bad shall not go unpunished? Sadly, it turns into "The Good shall be punished".
Or, women in love act irrationally?
Or, do curses really work? 
If so, I sure would really love to curse some drivers. Yes, those that cut in whilst texting, yapping, or even putting on make-up ON THE highways and byways! ;-) But I digress.

Back to the HGO production, which, if I recall, has been around a few times before, and seems a bit tired, to me, despite the big red splashy opening scene with Rigoletto.

Alexyuk, McKinny-Photocredit HGO

BTW,
HGO alum Ryan McKinny made his debut as the jester, and did it well with sonorous sound and gestures. He just looks a bit too young even make up did not age him sufficiently to cover his charmingly youthful face.
On the other hand, his daughter Gilda, sung with crystal clarity and meltingly haunting voice by Studio Member Uliana Alexyuk (Einspringer for the scheduled Gilda who left - for personal reasons) was stunning and so teenager. That singer is one to watch, and conquer other opera houses soon!
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I heard others as Gilda, the ones most securely anchored in my memory are: more recently,
Maureen O' Flynn (HGO) and, prior to that, Edita Gruberova...but Alexyuk comes very close!
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Now on to others in the cast.
Despite a pre-curtain announcement, that Stephen Costello felt ill, he sang the Duke seemingly without signs, perhaps not quite full out, but getting stronger as the night wore on.
Robert Pomakov's Monterone was a bit less imposing than previously heard Monterones;
Dimitri Belosselskiy (Debut at HGO) did not quite come up to expectations as Sparafucile...that cold, yet "honorable?" viciousness in the voice seemed lacking;
Carolyne Sproule as Maddalena (HGO Studio) decked in shawls like a Carmen (early ads for the coming 'Carmen'? tee hee) was adequately sultry with Rastafarian curls..
Other comprimario roles were also taken by current studio members.

Marullo=Reginald Smith

In this production, the naked woman (prudently (lol) holding a dress just in front) flashing across the stage in the first act (a well remembered 'rearview' ;-) from the previous show 2009) was omitted.
Thus, a sense of supposed deep depravity of this court was - well - NOT sensed.

Patrick Sommers coaxed grand Verdian sounds from the orchestra with his usual verve.

The Production was well done, but.....

Not sure what exactly was missing, something seemed to be - at least to me!

Still it's an entertaining musical event, which does allow one to go away whistling, humming

or - if so talented - singing catchy tunes, which after all is rather good!

The Passenger-a searing musical portrait of (in)humanity

This co-production of Bregenz, Warsaw, ENO, Madrid is currently being performed at HGO.  It is a new(ish) work, composed by Mieczyslaw Weinberg, libretto by Alexander Medvedev which David Pountney translated rather well into English. It is performed with surtitles.  But IMO they are rarely needed, since the enunciation of most singers is outstanding and 96% understandable. I was privileged to attend the final dress rehearsal, which went smoothly. Opening night is Saturday 1/18. I'll be out of town then so am publishing it this morning.

A brief description of its plot: Fifteen years after the end of the war, a German diplomatic couple (Walter and Liese) are on a liner for Brazil where he is to take up an embassy position. On the ship there, too, is a mysterious veiled woman. Liese seems to recognize her as one of the inmates in Auschwitz where Liese (aged 22) served as a camp guard.
Several acts are devoted to camp life.
Female prisoners from all over Europe are found there, each one reacting in her own way to the horrors around her. One apparently has gone mad, another teams up with a very young girl in lieu of her own daughter. Their nationalities are: Czech, Polish, Russian (a partisan), French and Tessalonikan. One is identified as Jewish, some others seem to be catholic, especially Bronka.
The heroine, Marta (that mysterious passenger), by chance, encounters her finance Tadeusz, who, we learn is involved in the camp underground and in touch with Katya, the Russian partisan.
The plot gets a bit thicker. Liese wants Marta to become her confidante vis-a-vis the other prisoners, and offers Marta and Tadeusz a chance to meet. Both are resolved not to give Liese any hold on them.
While these flashbacks to camp life take place, on an upper level we see Walter and Liese attempting to participate in ship's social life. Liese has told Walter now all about her camp life. And Walter, after an initial revulsion, has accepted it and excusing it now supports her.
But then the "Passenger" asks the band (on a 3.level) to play a waltz.
And Liese breaks down completely. It is the waltz the camp commandant has demanded Tadeusz play for him on the violin, which Tadeusz does not do, and so is sent to his death. As - it seemed - is Marta.
The opera ends with the 'modern' Marta's demand 'never forgive nor forget'!

Now the cast requires some very strong performances by 9 female voices.
And HGO found them, voices with convincing acting prowess.

Michelle Breedt -above - (HGO debut) sings Liese with a flexible Mezzo and seemingly personal conviction in the world she inhabits on stage.
Melody Moore is Marta with strong and confident delivery.
Victoria Livengood - quite excellent as the madwoman.
Yvette, the French youngster, is sung with a clear high soprano by Uliana Alexyuk (HGOStudio).
Vlasta is sung by another HGOStudio member, Carolyn Sproule.
Krystyna is performed by Natalya Romaniw (Studio member).
Bronka, the older woman adopting the youngster Yvette is sung with moving expression by Kathryn Day.
Agnieszka Rehlis (debut) sings a few lines as the Jewish girl (is she the one from Tessalonika?).

Kelly Kaduce - above - (debut) whom I have seen and heard in  Anna Karenina, Tan Dun's Tea and as Margaret Garner, sings Katya with complete confidence and beautiful phrasing.. her solo, unaccompanied for the most part by orchestra, of the Babushka song is truly stunning!
Cheryl Parish (also seen in Show Boat at HGO) is the senior overseer who has just a few lines as well.
All other characters, in camp, and on ship, as well as in the, all MALE onlookers in modern dress (why they are there is still, IMO, a mystery, they do not really do much for the plot - perhaps they are to be us, the audience, but why only males?), are taken by chorus members with no solo lines, some are even silent.
As you can see, the females are dominant in this work.

Joseph Kaiser - above as Ravenal in HGO's Show Boat - Walter, is convincing and uses his suave voice well. 
Morgan Smith - debut (of Starbuck fame -Moby Dick seen by me in Dallas) sings Tadeusz with feeling. His orchestra double actually plays the violin.
James Maddalena has 2 cameo roles with a few lines, mostly just spoken.
Robert Pomakov as the first guard, and
Peixin Chen and Kevin Ray (both Studiomembers) as 2. and 3. guard acquit themselves quite honorably.
I am not sure who plays the Commandant, whose brief appearance in scene 5/act 2 is the cause for Tadeusz' death.

 I have searched for some videos.. and found this of another composition by Weinberg

Now to my personal impressions. Not being a musician, I cannot write about the difficulties which lie in the score. I have been told that some seems almost impossible. And yet the orchestra and the singers do it real justice.
It is above all a great theatrical drama with hugely excellent singing.
Maestro Summers knows the score and guides the team well.
Music: mostly accessible, sometimes overwhelming, sometimes very lyrical. IMO, it paints musical pictures of the horrors, but of beauty as well.
Staging and set are impressive, sadly I fear, people in balcony and high Grand Tier seats will not see the third level (orchestra) and maybe even part of the second level. The set is built very tall! Lighting is appropriate to action and scenery. A bit of stumbling around the camp ground makes the prisoners' exhaustion even more plausible.

Was I moved? Yes, to some extent I was, mostly due to the truly superb acting singers.

But having studied this period in history, and read as much as is available in English and German, I was somewhat disappointed. Or maybe, like so many of us, I have become desensitized to violence and horrors by what is thrown at us daily on television and the web. Perhaps.

Did I think the piece biased?  Not really.  The composer, IMO, tried his best to tell the story as seen from the standpoint of a younger Liese, whose experiences must be taken in context of the times.
Befehl ist Befehl - order is order!
And yet, nothing is ever just pure black and white.
But still, it should be seen as grave warning to humanity.  If it works in these days of increasing insensitivity to suffering, of spontaneous killings may they be government sanctioned, or acts by crazed (?) individuals, I simply do not know. And who really can?
Maybe...at least I hope it will open some eyes and hearts!

And here some comments, overheard on the way out:
"High drama but not really an opera".
"Would have liked it better as a ballet."
"How P.C. is that, before HGO is doing Wagner."
"I am surprised that it did not affect me as much."

Well, best you see it yourself. 
I can guarantee the singing and acting is fantastic.

Battling with Australian/American production of THE BAT ....

HGO presents a remake of Die Fledermaus by Johann Strauss, Jr. - seen on Sunday- with English libretto. This frivolous, frothy, oh, so Viennese Operetta emigrated (my guess is by force, by Mme director!) to New York.
Before I delve into the details and the singing, I must owe up being vastly biased.
Viennese born, bred, and fed Opera and Operettas from early on, well, perhaps not with mother's milk, but soon, I love my waltzes. And the societal and political parodies which find such fine and amusing outlets in den Operetten. Heard first via Radio...much later TV.
Even in post WWII Vienna, those frothy lilting sounds were everywhere. Street corners abounded with musicians; playing hurdy-gurdies, violins, flutes; and even vocalists. Yes, they did it to beg for alms, but for a child walking those streets it was musical heaven - my ears  then were much less discriminating ;-)! And from the tales of the years before my birth told me by my elders, music never left Vienna, bombs falling or not! Our wooden furniture bore scars by glass from splintered windows after bomb blasts. For years after, that side of the piece felt like a gigantic emery board.

So having said this, let me proceed to enumerate the pros and cons.

Pros:
1. I liked the idea using silent movie lead ins and endings (which by the way some of the audience missed, they were in such a rush to get up and get going). I thoroughly enjoyed the updated parodies presented by actor (?) Jason Graae, remembered dimly {due to advanced age ;-) no doubt} as a funny Njegus in The Merry Widow (also in English). I am afraid some of the audience will have missed the hint to Peter Grimes (in a previous HGO production Peter Grimes was sung by Anthony Dean Griffey - now in this luxury cast singing Alfredo). 

2. The IMO outstanding performances of the day were Wendy Bryn Harmer as Rosalinde - sung with a beauty that, almost in a Viennese way, charmed;
and the athletic, debonair Liam Bonner as Eisenstein whose ringing baritone seemed created for just this role.

Photo courtesy HGO

3.  Michael Sumuel was an credibly bumbling Frank with his warm baritonal sound. 

4. Samuel Schultz a supercilious Dr. Falke with a crystal clear baritone.

5. The English singing chorus did quite well, but the absence of those Viennese accents, was felt. Alas.

Cons:
On the other hand Laura Claycomb as Adele, was rather perfect in appearance;
Susan Graham as Prince Orlovski ( was SIR Elton John the inspiration for her make up and manerisms?),
and Anthony Dean Griffey as Alfredo (why make him behave in such slapstick manner?)
was a luxury cast, that did not quite live up to the promises.
 
The other cameo roles of Ida & Blind  weer sung bu current HGO Studio members Uliana Alexyuk and Reginald Smith, Jr.

Staging and sets were ...welll...  quite New York.
Dresses were amusing and - in the ball scene, finally provided a bit of that froth for which Viennese operettas are known worldwide.

I did feel that Austrian born Conductor Thomas Roesner, while trying his utmost best to infuse that lilting sound into the production, was, perhaps, hampered by the forced emigration of this quintessential Viennese piece to New York. Add the addition of  Astaire/ Rogers dance show (BTW well dances by Broomhead/Richmond), plus the occasional 'modern' music bits and pieces (Release me, let me go, for example), the zing and froth that so defines this Operetta became lost. 
Die Fledermaus has become The Bat, an American Musical...sigh!
Even if as well done, as we expect from any HGO production!!

OK, so maybe I am a bit too critical.
But -  to me, and some other Austrian-born people in attendance (we did commiserate together  during the 2. intermission) the production left us wanting for some Sekt to help overcome our loss; and bolster the felt nostalgia for that Wien I/we all knew with its array of dialects, accents and food which grew out of its multi-nationality over centuries!

And THAT simply does NOT translate into English. Especially when done so by Australians: Director Hume and Designer Roberts.. yes, from that country so often confused with Austria.
No, there are NO kangaroos in Austria - Oesterreich! Ooops, sorry just had to put that in!
Mea culpa! So there!

Just as some great Austrian Wines suffer by transportation to these shores!
And the delectable Viennese desserts, so full of calories but thus so full of unbeatable flavor, suffer when prepared according to the latest 'health" guidelines :-) or rather ;-(.

I am left with homesickness for my Wien, Wien Nur Du Allein, Sollst Stets Die Stadt Meiner Traeume Sein!