A Coffin in Egypt

That was a fabulous tour de force by veteran Mezzosoprano Frederika von Stade, For 0ne hour and a half she alone kept the audience spellbound.
Yes, there were 4 others at various times on stage with her, two were actors in speaking roles, two had silent roles. David Matranga and Carolyn Johnson are actors. Cecilia Duarte and Adam Noble were the two silent players.

Plus there was a chorus of 4 gospel singers, who provided vocal accompaniment in quite superb manner. Cheryl D Clansy, a ringing bell-like soprano; Laura Elizabeth Patterson , alto; James M Winslow, tenor and Jawan CM Jenkins, bass.

Von Stade with Cecilia Duarte as silent companion

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Ricky Ian Gordon's music played by just a select few (8)of the HGO orchestra under the guidance of Timothy Myers was at times strident, at time very lyrical but each fitted the words and action on stage. Von Stade's voice soared powerfully in youthful spirits, other times she sounded like an old 90 year old woman, which she played, actually. But
whatever the cause, the thoughts, the remembrances she sings/talks about she truly mesmerized by her presence and voice.
Leonard Foglia directed and wrote libretto, based on the play by Horton Foote.  Myrtle Bledsoe (Von Stade) at 90 recalls events in her turbulent life, and a real drama it was. At the end she comes to grip with it and feels free of hatred, and love. 
Set and costumes by Riccardo Hernandez were simple: a porch in Egypt, Texas, a red caftan and shawl for Myrtle.
The mood lighting reflecting spring, summer, fall and so much more designed by Brian Nason.
It being a World Premiere, there are no clips. YET


But Ricky Ian Gordon also composed The Grapes of Wrath

(seen in a production by Moore's school of  Music U of H some time ago).


Sadly, chers readers you will have only ONE more chance to see this on
MARCH 21!

And in the end she dies

and so she did, Mme Butterfly at HGO.

Grandage Tony Award
Photo LA Times

The award winning team for RED, Grandage, Oram and Austin, director, set and costumes and lighting, presented a new take on this (seen for umpteenth time) opera.

It's a big seller and HGO is no different, it had to add an additional performance due to huge demand for tickets.

Martinez and Calleja (HGO Photo)

The stage was set simply, deceptively so, with a sweeping path in RED across it, bronze colored walls in the first act, silvery ones in the second. Lighting cast tree shadows delicately, during morning, day and evening. Costumes followed suit in light colors from white, to rose (Butterfly's over Kimono), to silver, grays and warm beige and browns. Understated  design reminiscent of, perhaps Japanese Woodcuts or Asian Paintings with fine brushes. A splash of RED was provided by Butterfly's obi and sleeve linings and red flower as she waits for Pinkerton to return. Patrons seated on the sides - for the first time in memory - were able to follow the action completely, since 98 % took place in the center of the stage.
Soprano Ana Maria Martinez, an HGO favorite since her Studio time, took Butterfly and made it her very own. I feel she was one of - if not the best- Butterfly I have heard/seen. Strong voice, flexible and graced by emotional shadings (when needed), her pianissimo floating delicately, especially in the initial love scene, she certainly had the audience spell bound...many, many bows demanded by it at the end!
A taste of her versatile voice as Rusalka (Dvorak)

Tenor Joseph Calleja as Pinkerton, sang easily with a warm, rich, open sound and -almost- made Pinkerton seem less of a heel!

He is here singing "Nessun Dorma" from Turandot

Levi Hernandez

Baritone Levi Hernandez (from Texas!) was a sonorous Consul, expressing well through his voice, the emotions of a man, not the official. I have always felt that Sharpless, the Consul, is a little bit in love with Butterfly as well.

But that is just my feeling.

Boris Dyakov, Baritone, made one of the most elegant Prince Yamadori seen in a long time, although his voice did not quite purvey the Prince's infatuation with Butterfly, as he pursues her for some time.

Tenor Rodell Rosel, as Goro, did sing with a clear fine voice, while Lucy Schaufer as Suzuki sang competently.

Tommy Ajai George, known to audiences from previous HGO appearances as well as at OH!, was a deep voiced authoritarian Imperial Commissioner, and Robert Pomakov a threatening Bonze.

Rachel Sorenson, as Kate Pinkerton was, in my opinion  luxury casting, her voice demands bigger opportunties to really shine.

Maestro Patrick Summers led the HGO Orchester with a deep understanding of the nuances of Puccini's music and paced the singers well.