Late but very enthusiastic

And so I am.
My take on Opera in the Heights' MACBETH!
Yes, Houston readers of this blog who are opera lovers as well, most likely will have seen it before and/or read the raving reviews. I do try hard to refrain from reading reviews, although I could not miss hearing things like "a must see" etc. but tried to shut out anything more, so I can report, as unbiased as possible, what I felt,and heard, and saw.

Which Better Half and I did Sunday afternoon to a sold out house at Opera in the Heights.
Saw is perhaps the wrong word.. most definitely HEARD wondrous music.
I really think MACBETH is my fave Verdi, right next to Trovatore and Othello! Maybe because all 3 are dramas dealing with human frailty and  'bad vibes" :-)  sort of "drammas horribiles" ;-)!

 

The voices of the 4 major singers, and the huge chorus (how did they all fit on that postage sized stage even if not crowded with props?) were so strong I am still amazed the roof didn 't fly off the rafters. Maybe a sign of the sturdiness of this historic church building on Heights Boulevard at 17th... they did build well in the 20's, didn't they?

Joke aside, the production set in a gangland   (NOT like this  PSY-gangman)

 

style was effective, IMO, the music and the singers were so overwhelming, one tended to overlook the iconoclastic sight of gangsta attire and machine guns (no protest forthcoming, methinks, but then we are in Texas!) in Birnam Woods and the Highlands of Scotland. Not a single Tartan in sight!

But no matter.

Andrew Cummings, (he will sing Kurwenal in Bogota, then return to OH! in La Traviata),
baritone with Wagnerian lungs, portrayed the ambitious and murderous (spurred on by his wife) Thane of Cawdor with raw vocal power,
ably matched in volume. albeit with much more vocal flexibility,
by soprano Emily Newton as his scheming and, finally, guilt ridden wife. Newton, sang with force when needed, but floated exquisite piano notes, where proper, without batting a lash!

BTW those of my chers readers in Germany should look her up at the Dortmund opera, where she will sing the title role in ANNA NICOLE (premiered by Westbrook) alas, those dates are not compatible with my European trip, since I shall be at Salzburg, Vienna (VOP and Staatsoper), and 5.17 Berlin at Komische Oper as a - hopefully - spell bound audience  member ;-)! And on the high seas on May 27! Otherwise... you better believe me.... I WOULD be there!

 Anna Nicole by Mark-Anthony Turnage

April 27 & May 2, 5, 10, 17 & 29 2013

Oper Dortmund

Dortmund, Germany

Aaron Sorenson, the Banco,  produced an amazingly rich bass sound from a very slender body, whose Banco reminded me of Che Guevarra.

Cameron Schutza, tenor, sang Macduff's beautiful aria with ringing sound and garnered much applause. Here Filianoti with this aria from Salzburg

OH chorus master Fuller schooled and managed the large chorus to huge success. Better Half opined that this was - in his mind - the best chorus yet seem/heard at OH in years!

Witches - photo thanks to Gwen Turner Juarez

The orchestra followed Maestro Carreon-Robledo's guidance with intensity and virtuosity.

They all do IT - freely after Mozart..

Cosi Fan Tutte at Opera in the Heights was tremendous.
I apologize in advance, if it looks like descriptions having been cribbed from various articles..
which I did NOT read. Until I post here!
Then I will read them! :-)! Friends are always sending my snippets and clippings...

But having seen last night's production (11/17 Emerald Cast) what I can,
want to, say about it probably repeats others' reviews.
The cast was exceptionally well matched.

Naturally, as I favor the deeper voices (men, more - a course :-)!
Erik Kronke's Don Alfonso, was enthralling. And judging from the applause and bravos on taking his bows at the end, so felt the rest of the audience.  And it was well deserved. Bravo Erik Kronke!
BTW he will be back for Anna Bolena in January 2012!

Erik Kronke
Photo By Gwen Turner Juarez - Thank you.

The orchestra played spiritedly under the energetic baton of Maestro Carreon Robledo, with special dedication, methinks, by the strings!
Soprano Emily Newton as Fiordiligi gave a beautifully paced and finely drawn performance. Her big rich voice rang true and strong throughout.
Well matched by the flirty Dorabella of Mezzo Ann Sauder. Who, so we learn, has taken on this role for ALL performances. Brava Ann Sauder!

Both, Tenor Emanuel-Christian Caraman as Ferrando,
and Baritone Kevin Wetzel as Guglielmo sang and acted truly well.
Caraman used his fine Tenor very pleasantly.
Wetzel projected some humor (IMO) into his portrayal.

Jennifer Whalen  was a sprightly Despina, although I for one, felt her mugging and falsetto singing as the Notary a bit too Keystone Cops-ish! Just my opinion, of course!
Otherwise she was a pleasant addition to the strong cast.

The OH! Chorus, who doubled as stage hands, did it all amusingly well.
The staging's great bright lightening made the tiny stage at Lambert Hall look surprisingly spacious!
Three more perfomances.. tonight (Ruby Cast), Saturday (Emerald) and Sunday afternoon (Ruby)!
Having said all that, I now must admit, that COSI is not my favorite Mozart Opera.
It just seems too long. Beautiful and exiting music notwithstanding!

Several scenes could be easily shortened without lessening the plot,
perhaps even strengthening the satirical impact of it.

And as in Don Giovanni - which does happen to be a big Favorite of mine -
The moralizing sextetts at the end of either opera actually detract from it.
Let Don Giovanni end with the Don's fall into hell!
Just my opinion...

Overwhelmed, fascinated and a bit ......hmmm...

So Better Half and I went to the MFAH yesterday to feast FIRST on Titian and other Venetian Renaissance Painters.

That exhibit is small, well spaced and can be leisurely viewed in depth, thanks to timed ticket entry.

It is really rather pleasant to be able to stand and admire without hordes of visitors battling for space in front of these luminous masterpieces. And return for a revisit to the one or two that truly capture one's imagination or emotions.

Titian: Diana and Actaeon

There are the two large Diana paintings by Titian who headlines this show.

But there are also 13 drawings by Titian, Tintoretto, and Veronese and other Venetians, often used preparatory to the final work. There are also 10 masterpieces in oil  from the National Galleries of Scotland's collection of Venetian Renaissance works. The paintings includeTitian's Venus Rising from the Sea;

Lotto's The Virgin and Child with Saints Jerome, Peter, Francis
with pictorial hints about events (e.g St Francis pointing to stigmata as found on Christ body, the cutting of tree=the future cross of Christ);
Paris Bordone's Venetian women at their Toilette;
Painting of an Unidentified Young Female as St Agatha
by Cariani also known as Giovanni Busi;
Tintoretto's Christ Carried to the Tomb-depicting the sorrow of Mary. 
Veronese's Venus, Cupid and Mars, a somewhat darker toned oil.
and Jacopo Bassano's Adoration of the Magi, quite a favorite theme for
Bassano. All exhibit luminous colors, and fairly true perspective. And the beauty of the (at times nude) human body comes through in most paintings with a clarity and naturalness that's simply etheral.

And that leads me to the next stop. More bodies.
Another timed entry, this one to Helmut Newton's photographs.

Several of these are photos of female (and a very few male) mostly nudes, some are of rather suggestive nature. From Helmut Newton´s White Women (1976), Sleepless Nights (1978), and Big Nudes (1981). Newton was known as a supreme recorder of female nudity in over 200 photographs. 

He also made his name as fashion photographer for Vogue.

Newton, born 1920 as Helmut Neustaedter in Germany– died 2004 in Los Angeles.  The prints on view  from White Women • Sleepless Nights • Big Nudes were made specifically for the exhibition.

Some are huge - nearly 8 x 8 feet.

And, as I mentioned earlier, do remind me of the works (in oil) of the Renaissance painters who also depicted nude bodies. Albeit in much less suggestive modes.

But really, how many front, back and side views of female bodies can one view at one visit?
Overwhelmed..... and underwhelmed too! I admit!

And there are many, in black and white, in color, artfully posed in chambers, poolside, totally nude, suggestively clad etc. 

Apropos "clad"  on to the last stop of our Arty Afternoon:

The installations of Charles LeDray listed as workworkworkwork.

And work it sure is!  What a busy bee he must be!
The collecting and/or making of thousand tiny utensils.

The stitching together of mini jackets, pants, shirts,  ties, etc. 

The making of small furniture heaped with painstakingly handmade stuff.

The arranging of buttons, scraps of fabric..and so on.
Tiny books with tiny drawings. Dollhouse tiny pieces of furniture...
Wall hangings reminiscent of quipus?  ...

Glass cases filled with "Throwing Shadows" (2008–10)  more than 3,000 unique minuscule black porcelain pots, each less than 2 inches tall - arranged with military precision.

As are other tiny vessels in 2 vitrines, these however are beautiful copies of colorful ancient vases, pots and more.

Sebastian Smee of the Boston Globe:“LeDray has a poet’s ability to concentrate and lift the imagination. His work registers loneliness and futility, yes, but also togetherness, renewal, and all the endless idiosyncrasies of life"

.
What will people not do to present "art" of their own making? And what will critics not write about it in mystical sentences? But at least it was a somewhat fascinating experience..especially to a doll collector!

That one is my favorite..  it so reminds me of this painting of 

OUR LADY OF THE FORSAKEN
(La Virgen de las Desamparados).
She represents a medieval brotherhood that cared for the insane and disabled, and buried the dead left in the street. On the second Sunday in May her effigy is carried from the Basilica to the Cathedral in Valencia, and is honoured on her return with displays of rose petals..

by Tomás Yepes (c. 1595–1674) sometimes known as Hiepes. He painted this which also shows his attention to minute beautiful details.. It hangs in the Prado, Madrid..

Good News and Bad News

Bad news first..Aeros loose to B Sens last night 3-0. Lehner gets a shut out. For more details please visit the official Aeros Blog and T3I. I was not there and did not see nor hear the game!

Good News 3 great voices entertain at BRAVISSIMO, the Opera in the Heights annual dinner/auction bash! Here are some minute video clips...the sound is good, the picture less so :-)!  The dinner room at the Houston Club was crowded, the lights romantically dimmed and the spotlights VERY bright.

But one can get the feel for the festive and excited atmosphere... 

Two lovely Sopranos, a tall and handsome Tenor, and nimble fingered talented pianist..

what more can one ask - IF one can''t have a whole opera LOL.

And a warm welcome to the newly appointed Artistic Director, Maestro Enrique Carreon Robledo (he conducted Don Carlos of recent memory at the OH! with Emily Newton, the lovely in one shoulderoff gown, who sang Elizabetta).

The live and silent auctions were lively and brought handsome amounts to the coffers of The OH!.

 Bravo and Brava to all who came to have fun, meet the Maestro, mix and mingle, and spend! And they did, have fun and spend!

vl tor: Emily Newton, Ta'u Pupu'a, Erica Miller and Teruhiko Toda (pianist)



Maestro Enrique Carreon Robledo

  

Miller singing from the "Candide"- Leonard Bernstein of West Side Story Fame) "Glitter and Be Gay"

Newton and Pupu'a singing La Soave Fanciulla duet from La Boheme

Among the excited, older crowd were several students (with chaperones) ranging from elementary to college levels getting an earful of arias.

And an undoubtedly valuable experience of how to raise funds through live and silent auctions..LOL.



Student Tables in the background

Red and white wines and champagne were flowing freely ( for the adults only, of course)to accompany the chicken - shrimp dinner topped by a tasty old-fashioned bread pudding with hard sauce.

Interestingly, the humble breadpudding as fancy dinners' dessert is becoming real "chic"! :-)! But yum yum anyway! :-D!



Amish breadpudding recipe

2 cups whole milk (or 2 cups half & half)
1/4 cup butter
2/3 cup brown sugar (light or dark, depending on taste preference)
3 eggs
2 teaspoons cinnamon
1/4 teaspoon ground nutmeg
1 teaspoon vanilla extract
3 cups bread, torn into small pieces (french bread works best)
1/2 cup raisins (optional)

Directions:

1. In medium saucepan, over medium heat, heat milk (or half & half) just until film forms over top.
    Combine butter and milk, stirring until butter is melted.
    Cool to lukewarm.
2. Combine sugar, eggs, cinnamon, nutmeg, and vanilla.
    Beat with an electric mixer at medium speed for 1 minute.
    Slowly add milk mixture.
3. Place bread in a lightly greased 1 1/2 quart casserole.
4. Sprinkle with raisins if desired. 
    Pour batter on top of bread.
5. Bake at 350 degrees F for 45 to 50 minutes or until set.
    Serve warm.
                                                                          ENJOY!



Don Carlo at The OH!

There are several versions of this Verdi Masterpiece.
The original French version of 5 acts is called Don Carlos.
Over 20 years various 'abridged' versions were tried, finally culminating in that Italian language version as seen at The OH! Thursday (with Emerald Cast).  There was no ballet scene as in the French version.

So here is a sample of what maybe missed by some ballet/opera lovers :-)


ONLY 3 1/2 hours including 2 short intermissions.
All are based on the Schiller Play.

BTW the Auto De Fe scene was cut as well.  The only hint of the horrors of the Spanish Inquisition were two cowed, cowled extras who stood with bowed heads and were shortly thereafter escorted off stage.

Having cut the Woods of Fountainebleu scene, makes it perhaps a bit confusing at first.
That act explains that Elisabetta, originally affianced to Don Carlo, was given in marriage by her father to Don Carlo's Father, King Phillip, which makes what follows more understandable.

Under Maestro Enrico Carreon Robledo the OH Orchestra produced lavish sounds, especially the string section, despite the diminished size as is the case in the intimate house of The OH!
Whereas in a bigger house  many more instruments are to be heard, here several of the players had solos and managed them quite well.
Staging, again due to the size of the house, was simple and mostly well lit.
Costumes were period style - quite suitable for a Spanish Court.



Elisabetta/Newton
by gwenturnerjuarez

 Elisabetta was sung with regal grace and a bright expressive soprano by Emily Newton, a native Texan.

Rodrigo/Lickteig and Don Carlo/Darling
by kinjotx



Don Carlo, Tenor Neil Darling, sang with fervor. His voice blended well with the burnished, quite powerful baritone of  Daniel Lickteig as his friend Rodrigo, Marquis de Posa. Especially touching in the final scene when Rodrigo entreats Don Carlo to go on and rule well.



Jennifer Kosharski's strong Mezzo with touches of contralto, acted and sang with steely prowess the role of Princess Eboli. Her 'O don fatale', was greeted with applause.

King Phillip, Bass Alexander Scopino, was touching in his solo of the anguished husband and ruler, who bows to the dictat of the Grand Inquisitor, who was sung with a powerful, rich bass by Erik Kroncke.

 Grand Inquisitor/Kroncke
 by gwenturnerjuarez



King Phillip/Scopino and Elisabetta/ Newton
by gwenturnerjuarez



The Heavenly Voice, heard from on high, was sung by Soprano Traci Davis with soft beauty.

Eboli/Kosharsi and Tebaldo/Ross
by gwenturnerjuarez

The Cameo roles of  Page Tebaldo, A royal herald , Count Lerma and Flemish Deputy/Monk were filled ably by soprano Rachel Ross in the trouser role of boy page, Tenor George Williams, Tenor Scott Travis, and Bass Daymon Passmore, all familiar to OH Audiences.

I did notice that both Newton and Lickteig seemed a bit under the weather.

If that is how they sounded then, they'd be truly stunnung to hear when hale and hearty!

The house was packed, the audience enthusiastic and applauded vigorously.

Soprano Emily Newton getting a standing ovation

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Five more performances, tonight, 1/29 and  Feb 3,4,5.