María Antúnez and Alfredo Daza. Photo: Robert Millard

By Carol Jean Delmar
Opera Theater Ink

The world premiere opening night of the new opera “Dulce Rosa” — with music by Lee Holdridge and a fine libretto by Richard Sparks — was dark and powerful.

I cannot say that the score is the music of a lifetime, but it is damn good — the best new opera I have reviewed in years. It sounded at times melodic and always passionate. When the drums pounded throbbingly, my heart stopped as if I were watching a suspenseful film with much drama. The richness of the orchestral sound and chorus were often exciting.

But what made “Dulce Rosa” so powerful for me was the excellent libretto in English, enunciated to perfection by the singers, who acted their roles to sheer ecstasy, really becoming the characters. Each character had a strong personality and will, and we in the audience could visibly see the passion in each of these people.

The story is a unique one, based on the short story, “Una Venganza,” by Isabel Allende.

“Dulce Rosa” is about a greedy revolution for power in a Latin American country in the ‘50s. The target is Anselmo Orellano, a retired senator, and his daughter, Rosa, at their hacienda.

Juan Aguilar, a rising politician, aspires to gain power and proposes that the leader of the guerrilla army, Tadeo Cespedes, eliminate the senator. After carrying out the deed, Tadeo rapes the senator’s daughter. She vows vengeance, lamenting her poor father’s death. But in a strange turn of events, Rosa forgives her father’s murderer and falls in love with him instead, only to be killed by a flying bullet meant for Tadeo from the gun of her fiancé, Tomas.

“You are as beautiful as your mother . . . the heart of my life,” Orellano sings emotionally to his daughter. Later: “I lived for you, and now you live for me.”

Heart-wrenching stuff!

At times the music seemed reminiscent of “Man of La Mancha,” but in a more operatic fashion. “Verismo” came to mind as well.

The scenery was simple and effective with an archway of expressive photographic projections within it and on either side of it.

I watched conductor Plácido Domingo in the pit. He was connected with the music and had an affinity for every bar.

Soprano María Antúnez as Rosa was lovely at the onset and a strong warrior after intermission.

Peabody Southwell as Inez displayed a lush mezzo-soprano throughout: mellow at the top and voluptuous at the bottom. I was sitting up close. She never broke character. She was real and believable, and her whole body displayed the character of her character.

Tenor Greg Fedderly was the loving father watching over his daughter as she succumbed to the remorseful full-voiced baritone, Alfredo Daza. Craig Colclough (Juan Aguilar) and Benjamin Bliss (Tomas Chacon) added excellent support.

I found myself teary-eyed when seeing the father and daughter interact, then again at her loss when he died. But the twist of her actions made me reflect on human behavior vs. morality, and the resulting dark conclusion was disturbing.

This new LA Opera production of “Dulce Rosa” is part of the company’s LA Opera Off Grand series, co-produced with and placing it at the Broad Stage in Santa Monica. The intimate theater and excellent acoustics lend themselves well to this opera, which was successful not because of one particular element, but because the sum of the parts created a powerful whole.

Conductor: Plácido Domingo
Director: Richard Sparks
Scenery Designer: Yael Pardess
Costume Designer: Durinda Wood
Projection Designer: Jenny Okun
Lighting Designer: Anne Militello
Chorus Director: Grant Gershon
Stage Manager: Lyla Forlani
Director, The Broad Stage: Dale Franzen

Nathan Gunn and Kelli O’Hara. Photo © Chris Lee.

By Carol Jean Delmar
Opera Theater Ink

I took time off from proofreading my book “Serenade,” to relax and watch one of my all-time favorite musicals on PBS: the “Live from Lincoln Center” [sort-of] concert performance of Rodgers and Hammerstein’s “Carousel,” based on Ferenc Molnár’s play, “Liliom.”

The production seemed fully staged, although the sets were minimal and more suggestive than anything else. The singer-actors were onstage with the New York Philharmonic, weaving their actions around, in-and-out, and through their instrumental peers.

Although there are many wonderfully uplifting numbers in “Carousel,” I was quite thrown to discover that I was sad and unhappy with every glorious sound.

I think that I prefer a fully staged production with big dance numbers and great costumes on traditional sets. Such productions camouflage some of the sadness inherent in the fundamental essence of the dialogue, lyrics, and story. The characters are less disturbing then, and, in the case of Billy Bigelow, more likeable.

This production was as much a character study as any drama without music. However the music was utilized to become the mirror of the souls of the characters who inhabited the stage.

Because I was watching the show on a television, the actors’ close-ups allowed me to key into the characters’ emotionality more keenly than had I been in the theater. I was watching this “Carousel” alone, so I was free of the inhibitions I might have felt had I been sitting next to a stranger in the audience. The result was a knock on the head that hit me like a bolt of lightning with a need to analyze each character’s essence as the tears welled up in my eyes.

This “Carousel” was the most mature version that I’ve seen thus far, and a reflection of this era in history. I have never thought so much about domestic violence in the context of this musical before. Billy was somehow unable to redeem himself. There was far less optimism; the youthful joy and hope had vanished for me, which was not necessarily a bad focus, just a different one — a true accomplishment for director John Rando. He had a great cast of actors and singers, and they carried out his vision.

In the past, most opera singers were unable to do justice to Broadway musicals because their voices and enunciation sounded affected. But nowadays some opera singers are able to cross over with success. Nathan Gunn and Stephanie Blythe are just such singers. I much prefer to hear classically trained singers perform musical theater than actors who say that they also sing. Their voices often lack heft and solid technique.

Gunn’s “Soliloquy” was spellbinding and strong. Blythe’s “You’ll Never Walk Alone” was regal, rich, voluptuous, and bold. I could really see the all-knowing nature of Blythe’s Nettie Fowler. I could watch Billy Bigelow struggle to do the right thing while inevitably doing what was undeniably wrong. Both gave memorable performances.

I couldn’t help but laughingly think that Nathan Gunn was able to imagine and transfer his love to Julie Jordan because he has a Julie Jordan Gunn waiting for him at home. What a coincidence. I’d like to hear the story behind that one.

Kelli O’Hara as the onstage Julie Jordan was fresh, delightful and truly lovely, with a voice to match those sentiments. She was also more mature and all-knowing than any other Julie I’ve seen. She truly understood Billy and had more wisdom than most of her predecessors. She didn’t push Billy into areas she knew he couldn’t tolerate. I think she was shocked when he responded so favorably to her pregnancy. Never have I focused so much on the “If I Loved You” theme — the unspoken love vs. the love that is verbalized. And never before have I thought as much about Billy’s confusion and inability to support his family, which led him astray, then caused him to take his own life in desperation. Again, the actions seemed to be a product of the times.

So I suppose you could call this a modern-day version of “Carousel,” which wraps around our weakened economy at a time when joblessness is part of the fabric of our society, at a time when desperation breaks families apart, when tragic acts — sometimes acts of terror — result from an inability of people to comprehend and make sense of what is occurring around them.

This was a bleak “Carousel.” But then theater is a creative means of mirroring life.

This television version of “Carousel” enabled us to hear the glorious music in a different light. We saw the bad and good in Shuler Hensley’s Jigger Craigin; the deliberations of Jason Danieley’s very righteous Enoch Snow; a wiser, yet grateful, Jessie Mueller as Carrie Pipperidge; and John Cullum as the wise sage encapsulated in the bodies of the Starkeeper and Dr. Seldon.

Kate Burton was marvelous as Mrs. Mullin. I was able to see her anguish as a human being within the confines of her colorful character. I could see how she related to Julie and responded to Julie’s relationship with Billy. I understood the rationale behind her reactions and dialogue.

The utter beauty of Louise’s ballet truly drew me in completely. Tiler Peck’s lithe agility was a sight to behold. Jointless movement turned her body into a pliable clay vision of creative form. She used her human instrument to create a poetic being that at times seemed unidentifiable as a mortal. She was complemented aptly by fellow dancer Robert Fairchild and the inspired choreography of Warren Carlyle.

Although Billy was able to help Julie attain closure, an unsettling sad feeling lingered inside of me. Louise was asked to draw strength from within, and not to base her attitude on her family’s history, which would only serve to deflate it. The accent on this sad commentary on today’s society only served to disturb me because it accentuated the need for parents to become role models for their children, and to provide them with the values necessary to become productive adults.

When I was young, a professor told me something that I did not comprehend: that we are born alone and die alone. I refused to believe that. I do not know that I can attribute such a philosophy or the reverse of it to “Carousel.” But Louise did learn that she had to stand on her own two feet with her head held high. Only then could she realize her dreams.

Julie could finally feel Billy’s love. And he could rest more peacefully knowing that his feelings had finally been communicated to her. Still, these three souls remained entities who questioned their own existence. Such is the turbulence that exists in today’s world.

The Rodgers and Hammerstein score held more substance for me this time around. The singing was wrought with emotion. And the audience was forced to analyze and contemplate.

“Carousel” is a timeless masterpiece that was performed at Lincoln Center by a masterful cast. I hope that PBS exposes the public to more encore performances.

Additional Credits:

Conductor-Musical Director: Rob Fisher
Sets: Allen Moyer
Lighting: Ken Billington
Sound: Peter Fitzgerald
Costumes: David C. Woolard
Stage Manager: Peter Hanson
Presented by the New York Philharmonic, Alan Gilbert, music director

By Carol Jean Delmar
Opera Theater Ink

So you want to learn about opera but don’t want to read a boring nonfiction book all about it. You don’t just want to read opera summaries, but you are curious as to what opera really is. You think it’s intimidating. Well, it’s not. It’s beautiful and romantic, and if you want to find out just how much you’d enjoy it, I recommend that you read my new memoir about my parents: a true love story if there ever was one.

It is a cinematic story that could just be the love story of this decade, with beautiful settings and backdrops like Viennese opera houses and landscapes, plus 100 illustrations.

“Serenade” is a nonfiction memoir which has dialogue and the creative narrative inherent in a novel. My father is the main character. He literally sings Lieder and opera throughout the memoir, and my mother is always there beside him. This is a book for the average woman reader who aspires to read a love story, but just may end up in an opera house after she does.

The book delves into the stories of a handful of operas, and educates. Yet it educates with a lyricism that is romantic, poignant, and moving. And the reader will see before he or she hears — what makes opera one of the most beautiful genres (in my opinion, the most beautiful) in the fine arts category.

But the book is also for those who are familiar with opera. My father was an opera singer in Vienna and Prague in the late 1930s. He was just starting out, but received immediate acclaim. Significant people who were in the opera world during that era play roles in my book. The average reader may not know who some of them are, but the real opera aficionados will.

There is much historical data in the memoir as well, related to the Holocaust. The Anschluss, Kristallnacht, the S.S. St. Louis, a letter from the Theresienstadt concentration camp, the Triscornia immigration camp, and illustrations of my parents’ passports — my parents lived through the Holocaust nightmare. But you must read the book and travel with them to Vienna, Prague, and parts of Switzerland, Italy, Venezuela, Panama, and Cuba, to learn more.

Ultimately, my parents lived a truly beautiful love story. “Serenade” is based on the audiotapes that my father left me, and on my travels around the world to tell their story accurately.

The publication date is June 15, 2013. The book is available on Amazon.com, at Barnes & Noble, and at the Book Clearing House (BCH), a vendor for Ingram and Baker & Taylor. More names will be added to the list.

PLEASE GO TO THE “SERENADE” WEBSITE AT www.SerenadetheMemoir.com. Read all about the book. Look at the story description and the wonderful reviews. Enjoy the Slideshow, but move your curser toward the top so that you can see all of the photo captions. And please “Order” the book and spread the word. I began writing “Serenade” well before I started writing opera reviews. My father exposed me to opera at an early age. If you are in love with love like I have always been, “Serenade” will bring opera into your hearts and minds. —CJD

www.SerenadetheMemoir.com

Loren Lester (George) and Kelly Lester (Naomi)

Jack Carter (Zucker)

By Carol Jean Delmar
Opera Theater Ink

In the midst of proofreading the memoir and love story I have written about my parents and their struggles during the Holocaust years, I took an evening off to attend a reading of Paddy Chayefsky’s “Holiday Song,” presented by the Creative Arts Temple at the Westwood Hills Congregational Church in West Los Angeles. Since I am a member of the congregation, I had no intentions of writing a review, but I found that I had something to say.

After the reading, Rabbi Jerry Cutler and the play’s director, Stephen Macht, turned the evening into a forum about the word “faith,” and what it really means to each of us.

While watching the presentation of the play, I was pleasantly amazed at the caliber of the actors. Although only a reading with limited rehearsal time, every single actor presented a developed character that was dynamic, real, and had personality, passion, and a love for humanity.

And while they were communicating these character traits, I was forced to listen hard, reflect on the story, and analyze my particular response to it, and to the Cantor. The Cantor (played by Barry Gordon) had lost his faith and was reluctant to continue performing his clerical duties until a miracle befell him. By accident, it seemed, he met a woman on a subway train who had been estranged from her concentration camp-imprisoned mate; and then later, he met a man on another subway train, who matched the description of this woman’s husband. The Cantor was able to reunite these two lost souls, which forced him to reflect on his own faith and wonder how such a miracle could have occurred.

During the discussion after, I wanted to say something, but a sudden burst of shyness came over me. Those speaking were making pertinent comments about faith, but were placing the comments into the here and now. I, on the other hand, couldn’t help but reflect on the past — on my father and on my own upbringing.

As the daughter of Holocaust survivors, I could relate to the Cantor, who questioned his own faith and religion, much like my father did. I was raised knowing that I was culturally Jewish, but I did not have a religious education. My parents told me that my father had worked hard during the weekdays, necessitating him to be on the set of television shows like “The Untouchables,” either early in the morning or until the wee hours of the night. My father had lost his profession due to the Holocaust and had worked his way up to becoming the key costumer on many films and television shows before heading the costume department at CBS Studio Center. Enrolling me in what my parents called “Sunday school” would have been an extra burden, they said, although they showered me with acting, singing, dancing, and piano lessons.

It turns out that I later learned that my father was an atheist. If Adolf Hitler could have done what he did to kind, good, law-abiding people, how could my father believe in God? That was his rationale. My father rarely set foot in a temple. My book details the reasons he no longer had religious faith.

However, after my father’s death, I found that I was looking for “signs” from God to fill the emptiness of losing him. I became a member of the Creative Arts Temple, simply to become part of a community. Maybe the simple act of attending “Holiday Song” was a Mitzvah (or good deed) that the congregation was able to bestow upon me. Having such a community of friends has enabled me to find faith in small and subtle ways, even to have faith that miracles do occur, much as in “Holiday Song.”

So as the audience was analyzing the play and how its message parallels life today, I was reflecting on the two young people who were reunited after the Holocaust, which enabled me to reflect on my own parents, their faith – or lack thereof – and how their beliefs had influenced me.

I am sorry that I never had a religious education, but that has not changed my ability to search for faith in all the right places, so thank you to the Creative Arts Temple for an unexpected thought-provoking evening.

THE CAST:

The bonus of the reading was the wonderful cast of actors who were aptly focused by director Stephen Macht.

Actor-comedian Jack Carter proved that age does not change one’s abilities and talents. As Zucker, he was forceful, energetic and real, all at the same time. Kelly Lester was the perfect Naomi, with her appropriate Jewish traits mixed with warmth, knowledge, and humility. Jesse Macht and Jessica Blair Herman gave sensitive, moving portrayals of the reunited couple. Barry Gordon was an emotionally conflicted Cantor in every sense of the definition. His intense delivery made us unable to decipher when the real Barry Gordon crossed over to become the Cantor in the play. They seemed to be one and the same.

Monica Piper was a standout, taking what seemed to be ordinary words and turning them into gems. Even the supporting subway guard, Howard Krupnick, had his moment onstage and shined. Edith Fields, Loren Lester, Bruce Nozick, and Nolan Porter were excellent. The narrator, Arnold Wise, did his job fittingly.

But the star of the evening was Paddy Chayefsky, who made us all think and then believe.

Rabbi Jerry and Jeff Cutler (co-producer) brought us together for this first Creative Arts Temple play reading. The evening was a resounding success, and I urge everyone to watch for the plays and dates in the upcoming series.

www.creativeartstemple.org

Audience-Friendly Opera Sells!

Plácido Domingo as Simon Boccanegra, LA Opera.
Photo: Robert Millard

LA Opera at the Dorothy Chandler Pavilion

LA Philharmonic at the Walt Disney Concert Hall

By Carol Jean Delmar
Opera Theater Ink

Two issues of significance were recently pursued in the Los Angeles Times article “Drama afoot as LA Opera feels heat of rival works,” dated June 20, 2012, and written by Reed Johnson and David Ng.

One issue addresses the fact that several Los Angeles Opera board members expressed dismay upon learning that the Los Angeles Philharmonic was staging operas like Mozart’s “Don Giovanni” in a cutting-edge modern fashion, thus treading on LA Opera’s territory. LA Opera, in fact, has plans to stage the same opera as part of its 2012-13 season. These board members were basically saying that there was a conflict-of-interest, and that the LA Phil should stay away from producing staged opera.

The other issue, which probably resulted from the responses regarding the primary issue, is much more significant. Los Angeles Opera’s viability as an opera company has been tested based on the company’s ability to produce compelling state-of-the-art theatrical opera, especially in a competitive environment during an unstable economy.

A few local smaller companies were cited in the article, and in reader comments, as being competitive. What needs to be emphasized is that both LA Opera and the LA Philharmonic are part of the Music Center Performing Arts Center of Los Angeles County in downtown LA. The County of Los Angeles owns the Music Center and maintains the buildings and grounds, and it oversees the occupancy of the theaters. LA County provides funding for maintenance, operations and security. The venues include LA Opera’s Dorothy Chandler Pavilion; the LA Phil’s Walt Disney Concert Hall; Center Theatre Group’s Ahmanson Theatre and Mark Taper Forum; and the LA Master Chorale. Although not part of the Music Center complex, the Kirk Douglas Theatre is a member of the CTG family, and the LA Phil performs at the Hollywood Bowl. Therefore, the mention of outside companies — like Long Beach Opera, The Industry, Jacaranda, etc. — only detracts from the central issue, which is that some LA Opera board members believe that LA Opera has its terrain, and that the LA Philharmonic should not cross over into LA Opera’s soundstage.

Apparently, the complaining board members learned about the conflict well after the executive board of LA Opera did. LA Opera’s head leaders understand that all of the companies and venues of the Music Center must live in harmony in a collaborative fashion. For one organization to put a halt to the programming of another organization would be a form of censureship. Still, certain venues are more successful with certain genres, and meeting periodically to discuss the most advantageous programming for both organizations is a commendable idea.

However, of more significance to me is the comments in the article from people regarding LA Opera’s permanence on the operatic scene when compared to smaller companies with more daring and innovative productions.

The Times quoted Jacaranda’s artistic director, Patrick Scott, as having said: “I understand the financial challenges that LA Opera has, especially with the debt incurred by the ‘Ring’ cycle. . . . But I think that they have had a history of making safe choices . . . but I feel like if they don’t start to swing out, and do the kind of repertoire that [has] legs with the audience, they’re painting themselves into a corner.”

Anne LeBaron, a composer and faculty member at the California Institute of the Arts, is quoted as having said about LA Opera: “They’re depending on these old war horses and their aging audience. And they don’t even do productions that are that new in approach.”

Well, I have to stand up for Los Angeles Opera.

I was very vocal during Ring Festival LA because I believed that a major arts festival should not be devoted to one composer, and an anti-Semitic racist composer (Richard Wagner) at that, even though I believed wholeheartedly that a “Ring” should be produced by LA Opera in Los Angeles.

But the fact remains that LA Opera officials found it difficult to raise the funds to meet the budgetary demands of the $32 million production, and were forced to seek a $14 million loan from the Los Angeles County Board of Supervisors, which has been partially paid back in an exemplary fashion with the remainder pledged for later this year, according to the Times.

Yes, LA Opera is making safe choices now, which Patrick Scott has questioned. There is no doubt in my mind that LA Opera has grown in wisdom.

Los Angeles Opera has become a tradition in LA. The Dorothy Chandler Pavilion is the most elegant old-time theater in Los Angeles. Going to the opera is not just about seeing the production and hearing the opera singers, although maybe it should be. Going to the opera is an invigorating experience for all of those who attend. It is an opportunity for people to dress up for the occasion, knowing that they will feel regal once inside the theater. There is nothing more energizing than sitting in the orchestra section and seeing the conductor walk to the podium, raise his or her baton, and then hear the first bars of the overture. There is nothing more captivating than seeing the first glimpse of a creative-looking detailed set as the curtain opens after or during that overture.

Opera is a type of education. There is a reason that people go to see the same operas performed over and over again with different casts, costumes and sets. There is no substitute for the music of composers like Mozart, Verdi, Puccini, Wagner, and others, sung by fat, thin, ugly, pretty or handsome-looking opera singers with voluptuous voices.

There is a definite place for new opera and cutting-edge productions. LA Opera has produced and will continue to produce its share of new opera. And more modern smaller venues might be more prone for success with such genres in their spaces. But the new cannot replace the old. There has to be room for variation and preservation.

If young people only buy tickets to opera if it is visually in the groove, then they haven’t cultivated the love for opera as it was meant to be perceived. Opera is beautiful, elegant and romantic.

LA Opera officials have tried to be innovative at the expense of being unable to fulfill their financial obligations. The company is doing a superb job now that is in tune with balancing the budget while still providing audiences with the opportunity to see and hear the most beautiful operas composed in all of opera.

When the company is able, it will produce more new productions, and more productions in general. Hopefully the number of known international star singers in those productions will increase, with talented younger singers performing as well. And the company will produce more new opera.

But I cannot emphasize enough that there is no competition for LA Opera. It is our premiere opera company, and nothing can tarnish it. I salute the smaller innovative companies that are sprouting up, but without a major opera company in Los Angeles, Los Angeles would only suffer as being culturally deprived of having a traditional opera company when other cities in the United States do. LA Opera helps Los Angeles resonate as a cultural mecca throughout the world.

There is a place for new operatic works staged with innovative concepts, whether produced by LA Opera, the LA Philharmonic, or any other arts organization. But people should not forget that Los Angeles Opera offers its own brand of entertainment in the Dorothy Chandler Pavilion, and it is irreplaceable.

Los Angeles Opera at the Dorothy Chandler Pavilion
135 North Grand Avenue
Los Angeles, California 90012
LAOpera.com

Los Angeles Philharmonic at the Walt Disney Concert Hall
111 South Grand Avenue
Los Angeles, California 90012
LAPhil.com

Anush Avetisyan, Daniel Cheng. Photo: David Schneiderman

CLAUDIO MONTEVERDI
L’INCORONAZIONE DI POPPEA
OPERA UCLA, WEST LOS ANGELES, CA.
LITTLE THEATER, MACGOWAN HALL
SEEN JUNE 2, 2012

By Carol Jean Delmar
Opera Theater Ink

Who says that student productions aren’t professional or worthy of reviews?

Lots of people do, so they don’t go.

Well, those are the people who are missing out on seeing reasonably-priced productions that are indeed every bit as masterful as some of the shows that hit the big time.

Case in point: Opera UCLA’s “L’incoronazione di Poppea,” which was performed with a double cast from May 31 to June 3 in Macgowan Hall’s Little Theater.

I have indeed seen “Poppea” performed with more lavish accoutrements in the usual Baroque tradition, but never with more panache and style.

Although the singers, mostly students, were excellent – the star of the show was the stage director, James Darrah, who received an MFA degree from the UCLA School of Theater, Film, and Television, and recently directed productions of Handel’s “Teseo” and Marc-Antoine Charpentier’s “Médée” for the Chicago Opera Theater.

Directors and productions are becoming more-and-more significant in opera these days – many times to the detriment of the singers. I am of the old school and focus much more on voices than sets. But the fact remains that many fine opera singers are not especially gifted actors, although that is changing. In this production, where the fragile economy was a consideration, there was no set. A black backdrop, curtains and draperies were the extent of it. So how could this director be the star of the evening? The answer is very simple: He had a vision, and he used his visual artistry to create movements for the singers that enabled them to produce characters that sparked the audience’s attention. Going beyond that, most directors give singers mundane blocking just to keep them busy at most. Darrah gave the singers movements which were like choreographed dances that made the singer-actors exciting, dramatic or funny. The dances were joined together to create a modernistic overall vision. The show had phrasing. I could see a phrase mark over various blocks of actions, just as if the phrase mark had been written over the notes in a bar of music; and the result was one big umbrella which had a thematic vision under it. The movements had grace. The singers’ bodies formed well-designed patterns as if part of a water ballet. The use of mirrors contributed to the effect.

James Darrah is an innovative director who is respectful of the music and singers, does not try to inflate his own ego at their expense, but directs in the name of artistry and creativity.

That said, Claudio Monteverdi’s “L’incoronazione di Poppea” was the first opera based on history rather than myth, premiering in 1642 or 1643 in Venice, with the action taking place in Rome in A.D. 62 or 64, depending on the source. Few manuscripts and only a Venice and Naples music score survive, and the extent of Monteverdi’s authorship has been questioned.

With a libretto by Giovanni Francesco Busenello, the story is immoral while the music sounds almost spiritual.

Ottone returns from war only to find that his lover, Poppea, is having an affair with the emperor, Nerone, who is married to Ottavia. Seneca advises Ottavia not to seek vengeance and attempts to reason with Nerone, who looses trust in him and sentences him to death. Ottavia asks Ottone to kill Poppea. Drusilla, a lady of the court, gives Ottone her clothes to disguise himself, but Amore (the goddess of Love) saves Poppea’s life. Drusilla is arrested for the attempted murder. Ottone confesses but implicates Ottavia, who is banished into exile as Drusilla and Ottone are punished. In the end, Nerone triumphs, and Poppea flaunts herself for succeeding in becoming the new empress.

Darrah made the spectacle a little bloodier than might be customary — killing off some characters rather than banishing them. He told me at intermission that there were no written stage directions, so he had the freedom to be creative, and so he was.

The UCLA Early Music Ensemble, under the direction of Stephen Stubbs, provided the orchestration which included two violins, a cello, two harpsichords, a baroque harp, a chitarrone, and a baroque guitar.

The mood was set for the multi-talented singers who were able to follow through with Darrah’s directions.

Anush Avetisyan is a Kim Kardashian look-alike with an alluring demeanor and seductive voice: a perfect Poppea. Daniel Cheng’s Nerone was strong and centered in voice and stature. And when the two used drapery to accentuate their emotions, the stage was intense and the audience could feel it. Their final duet could have been more effective, though.

Emily Lezin was a commanding Ottavia. She did justice to her “Addio Roma” lament.

Brian Vu was an athletic Ottone. Blessed with a lush baritonal timbre and robust sound, he was charismatic with a powerful stage presence that was undeniable.

Alene Aroustamian provided the comic relief as Arnalta, attending to Poppea. Darrah’s utilization of pantyhose that just wouldn’t stay up was hilarious. The other comedic standout was Briana Gantsweg who played the trousered Valletto and Virtù.

Jessica Nicolet (Drusilla) was a delight with or without her clothes on, leaning against a proscenium wall to great effect. The entire cast – especially Ryan Thorn (Seneca), Patricia St. Peter (Amore), Phoebe Dinga (Fortuna), Sarah Anderson (Nutrice) and Jeffrey Fichtner (Lucano) – was excellent. There were moments when various singers sang below the notes, however, thus sounding flat so that the melody of the music was lost. This usually happened in moments when a singer was showing emotion or comedic reactions. Although the audience laughed and didn’t notice, vocal delivery should never be compromised due to an emphasis on staging, although staging and acting can cover up poor vocalization. Still, in the university setting, young singers should focus on the voice first, feel secure with it, and then add on the dynamics. However with such great blocking and the opportunity to show off, it is understandable that some of the singers did just that. Daniel Cheng, on the other hand, paid attention to vocal detail while at the same time embracing the stage directions to enhance the emotionality of his character.

The costumes were a cross between modern and classical, were cost-effective and worked. They were modern with a tunic-like-look at times, thus suggestive of the Greeks and Romans. An example was Amore’s white costume in the second act.

Opera UCLA never fails to deliver. I always enjoy the spirit and energy the students exude with their talent. “Bravo” to them and to the dedicated UCLA faculty.

UCLA Early Music Ensemble: Elisabeth Le Guin, director; Lindsey Strand-Polyak, violin; Rhea Fowler, violin II; Phoebe Ping, cello. Guest artists: Ian Pritchard, harpsichord; Maxine Eilander, baroque harp.

Music Director: Stephen Stubbs (Harpsichord, chitarrone, baroque guitar)
Stage Director: James Darrah
Scenic & Prop Design: Kaitlyn Pietras
Costume Design: Raquel Barreto
Lighting Design: John A. Garofalo, Cameron Mock
Director of Opera UCLA: Peter Kazaras
Music Director of the Opera Studio: Rakefet Hak
And many more, including Liana Dillaway, Rob Rudolph, Myung Hee Cho, Daniel Ionazzi, Mona Lands, Michael Dean, Vladimir Chernov, and Juliana Gondek

Jan Maxwell, center, and Ensemble. Photo: Craig Schwartz

By Carol Jean Delmar
Opera Theater Ink

As a 60-something-year-old writer who recently dusted off her old acting shoes and produced a show at the Santa Monica Playhouse, I found Stephen Sondheim’s “Follies” at the Ahmanson Theatre in Los Angeles to be utterly inspirational.

What makes Sondheim’s superb musical a gem is that it is far more than just a musical. Just a plain wonderful musical would have been enough, which “Follies” is; but this musical has meaning and depth, so as you sit in the audience loving the melodies, you also find yourself listening to every word sung and said, reflecting on your own life – the things that were important to you that no longer are; your goals, regrets and missed opportunities; and your understanding of love, and how that has changed. It really does help to be over 50 to really comprehend the essence of this musical. But there is much for the younger generation to enjoy as well.

The inspiration stems from the story line, which basically centers around two aging performers who meet with their former colleagues in the old theater of their hay day when they were part of the “Weismann Follies.” These former showgirls have brought their husbands along, and as the four reflect on the past, their marriages unravel.

Naturally, in order for the show to be appropriately cast, older actors, singers and dancers were needed, or they had to be made up to play mature. When seeing such singers and dancers perform, there is usually a wearing down of either their voices, vocal technique, or ability to move or dance. Not so in this show. Members of the cast were graying — if not actually, then figuratively. But they could dance and sing – putting most young people under the table. Seeing this incredible display of talent could only make me stop complaining about my own age as a baby boomer facing retirement, and think about the truism that age is in the mind, and that a youthful outlook means the realization of youthful abilities. Rather than retire, when seeing these incredible performers, all I wanted to do was shout from the rooftops that life could very well begin after 55, 60, or even 65.

The film and television industries in Hollywood are geared for the younger generation. This play should truly garner their respect for the elderly.

Mark you, the production did showcase some younger performers as well, who portrayed the main characters as they had appeared in their youth as both shadows and ghosts. And there were some wonderful Ziegfeld-type showgirls prancing around the stage in front of some magical pink flowers which took the audience into a fantasy loveland. Their costumes were simply lush – some in the nude flesh-colored tone with sequins and other ornamental jewels appliquéd on them.

But the inspiration for me was the performers and the vigor of their theatrical execution. A number of them are Tony-nominated actors and could very well win a Tony for their performances in this 1971 “Follies” revival, which opened at the John F. Kennedy Center for the Performing Arts in Washington, D.C. and then went to Broadway.

Jan Maxwell (Phyllis Rogers Stone) is a marvel. She is tall and statuesque, and she communicated an energy to the audience that was astounding. Over 50, she looked stunning in an elegant goldish white-sequined gown; her voice was strong and secure; and her dancing was phenomenal, with sensational moves and acrobatics. She has the style of an old-time star. Sheerly wonderful!

Victoria Clark (Sally Durant Plummer) was a delight. Being an opera person, it was so nice to hear a well-trained voice that could really go the distance. I loved the soprano elements of it, and how Clark was able to also dig down deeper and chestier, and do it all without a break in her voice and without jolting the audience’s attention. When she sang “In Buddy’s Eyes,” she was sensitive and appreciative of her husband’s steadfast devotion. When she sang “Losing My Mind,” she held the audience spellbound. Her emotionality was intense, both vocally and physically.

The two men in the women’s lives were also quite marvelous. Ron Raines was Benjamin Stone. He charmed us with his dancing and vocality. Danny Burstein (Buddy Plummer) brought Broadway to Los Angeles with this show. He is a true song-and-dance man. His portrayal of a down-to-earth Joe was on target.

Jayne Houdyshell (Hattie Walker) stopped the show with “Broadway Baby.” She had that graying power that proved indestructible.

Elaine Paige’s Carlotta had that Mama Rose quality in a strong rendition of “I’m Still Here.”

I especially liked Mary Beth Peil’s Solange. What a great character! And the glow emanating from Susan Watson’s young-at-heart Emily was contagious, as was the tap-tap-tapping and vibrant personality of Terri White.

The orchestra under the direction of James Moore provided excellent support, and the entire ensemble sang, danced and acted with precision.

I have to take a moment to single out soprano diva Carol Neblett since I often review opera. I saw her name in the program and thought that the character of Heidi Schiller was probably being played by someone else with the same name. But then when she walked on the stage, I knew it was her. Neblett has sung in all of the major opera houses in the world and was an international star, singing with tenors like Plácido Domingo a few years back. She currently teaches and is an artist-in-residence at Chapman University.

Her part was not a large one. She appeared to be a supernumerary (extra) in the first half, but had some nice lines. Then later, she sang a short duet: “One More Kiss.” Beginning as a soloist, her voice immediately revealed its splendor and singularity. Not as young as she once was, her movement showed maturity which was appropriate for the character. But when she began singing, everyone in the audience knew they were hearing something special and listened attentively in reverence. Her duet partner (Leah Horowitz) sang well, but the additional voice made it difficult for me to hear Neblett, and I wanted to hear more. Although all of the voices in the production were excellent for musical theater, Neblett’s voice immediately surfaced for its purity and operatic timbre. The audience was quick to acknowledge the sound with an applause after a very short sampling. Again, it was wonderful to see another senior performer rise to the occasion with such magnetism.

Everything about this production was ideal except possibly the ending: I wasn’t quite sure that it happened. Something seemed missing. Was it time for the audience to applaud?

But outside of that, director Eric Schaeffer, choreographer Warren Carlyle and music director James Moore have created a “Follies” that is entertaining and at the same time, thought-evoking, touching, visually provocative, memorable and exciting. I loved it!

The show continues through June 9, 2012.

Director: Eric Schaeffer
Orchestrations: Jonathan Tunick
Music Direction: James Moore
Choreographer: Warren Carlyle
Scenic Design: Derek McLane
Lighting Design: Natasha Katz
Sound Design: Kai Harada
Costume Design: Gregg Barnes
Hair & Wig Design: David Brian Brown
Make-up Design: Joseph Dulude II
Associate Director: David Ruttura
Casting: Laura Stanczyk Casting
Production Stage Manager: Ray Gin
Company Manager: Mark Rozzano
Production Manager: Juniper Street Productions
Center Theatre Group Artistic Director: Michael Ritchie

A Video from the Past: Carol Neblett Sings Tosca

The Cast of ‘Sleeping Ugly.’ Photo: Cydne Moore

By Carol Jean Delmar
Opera Theater Ink

“Sleeping Ugly” is not your typical love story, and it’s not being performed in the typical way — but Arnold Schulman’s newest play certainly makes one identify with the characters while being entertained with the quintessential mock Kabuki Commedia-dell’arte theatrics that Santa Monica Playhouse is known for.

As the screenwriter of such film successes as “Love with the Proper Stranger” and “Goodbye, Columbus,” Schulman, now 86, has been less known for his playwriting than his screenwriting – even though his Broadway hit “A Hole in the Head” was adapted into a movie. He has written a number of plays through the years for amusement, and “Sleeping Ugly” is one of them. His grown-up son accidentally found the play and submitted it to Santa Monica Playhouse. The artistic directors – Chris DeCarlo and Evelyn Rudie – took the play under their wing, and the result is a highly enjoyable evening of theater with a mix of engaging acting, staging creativity and laughs.

The main character – Judy Lockwood — is a New York magazine editor. Her problem in maintaining a relationship with a man is that she’s a klutz, so she decides to end it all by jumping into the river.

Stanley Fender, the other main character, is a pediatric dentist. He watches Judy and tries to rescue her, thus necessitating her to rescue him. Love strikes with the usual, or rather not so usual, hindrances: in this case, Judy’s sloppiness and klutziness, and Stanley’s hidden identity as a werewolf. Judy’s failings seem rather insignificant since she (as played by Jaimi Paige) is adorable in appearance with a bright personality that would attract any man. So naturally, Stanley (as played by Chuck Raucci) finds her utterly appealing. However his more unrealistic blemish enables the audience to realize that the play is a fairytale.

So once you reach the fairytale genre, what could be more captivating than to add some fairytale magic, which director Chris DeCarlo has done by keeping the two main characters realistic, but by adding some Commedia-dell’arte characters with Pagliacci-like clown makeup and costumes surrounding them. These members of the ensemble act as furniture pieces and props, and the settings are projected on three rectangular backdrops upstage. Pretty nifty in this poor economic environment, I’d say. No furniture was required; no traditional sets were needed; and some of the props could be made out of cardboard.

I loved the two very realistically-dressed characters in the middle of this very stylized world. I did wonder, however, what the play would have looked like had there been a realistic set with a total ensemble of normal-looking characters. But then the production would have lacked its wonderful creativity and might have appeared dull or even boring. The sublime visual creativity and inventiveness added a unique dimension to the play, including the syncopated sounds contributed with precision and rhythmic accuracy by Evelyn Rudie from an elevated box on the side. I do realize, however, that the only way I could judge the playwrighting elements of the play would be without the added glitz or by simply reading it. So since I applaud the creative elements and the superb choreography which was executed skillfully by every single actor – I cannot judge the play on its own merits, but have to judge “Sleeping Ugly” as I saw the complete production.

The highlight for me was watching Jaimi Paige interact with Chuck Raucci. The two were perfectly cast and could not be more perfect. I cannot imagine any two actors who could play the roles better. She is lovely, immersed in her character, natural, and utterly engaging. He shows his talent in his physicality, especially when revealing his werewolf persona. He is slight in build and somewhat reminiscent of the Woody Allen type, who is not normally the guy that gets the gorgeous girl. It is Stanley’s endearing quality that makes us understand why Judy falls for him. Both actors have a great deal of talent and are utterly believable. Raucci has the finesse required for the physical comedy that, let’s say, John Ritter was known for. And Paige is simply adorable and charming without having to flaunt or overdo anything to prove it.

I found that the text of “Sleeping Ugly” has more depth than most comedies. In most relationships today, people cannot connect because one party usually finds fault with the other. The two may start off in love, lose that infatuated feeling, start finding faults, and then either split up or come to the realization that they love each other and better compromise. I was able to watch a fairytale about a werewolf and still identify with the very not-so-usual situation that the two characters were living with. Their not-so-usual traits and gripes only served to make all of us in the audience think of the usual traits and gripes that draw people away from and toward each other. Even the in-law problem was raised in a creatively, cleverly-staged fashion. I therefore praise Mr. Schulman for incorporating such insight.

“Sleeping Ugly” is a first-rate play being staged with first-rate actors in a first-rate production.

Performances continue through June 17.

Ensemble: Alison Blanchard, Serena Dolinsky, Juliet Ladines, Jaimi Paige, Chuck Raucci, Scot Shamblin, Constance Strickland, James Terry

Director: Chris DeCarlo
Associate Producer: Peter Schulman
Commedia Movement Director: Serena Dolinsky
Lighting and Set Design: James Cooper
Sound Design: Linn Yamaha Hirschman
Costume Design: Ashley Hayes
Multimedia: The Attic Room
Graphic Design: Timothy Chadwick
Production Stage Manager: George J. Vennes III
Lighting Technicians: Bertha Angel, Sheri Nuckolls, Tessa Parkhurst
Sound: Evelyn Rudie
Public Relations Director: Sandra Zeitzew

Santa Monica Playhouse
1211 4th Street, Santa Monica, CA. 90401; 310-394-9779.
SantaMonicaPlayhouse.com

Piotr Beczala in Dresden

By Carol Jean Delmar
Opera Theater Ink

Polish lyric tenor Piotr Beczala is making quite a name for himself. Audiences are eager to discover the new greatest tenor in the world since from the golden era, only Plácido Domingo remains prominent, and Domingo has become more baritonal lately than anything else. He is the greatest living tenor. Plus he is a remarkable human being, conductor, musician, multi-tasker and mentor. It seems that even “he” is attempting to find a successor.

The problem is that there are many talented young tenors who are receiving excellent training – probably more now than ever before. But none of them seem to be the one greatest tenor of this generation. A tenor might be labeled the great new discovery of the year, but a few years later, that same tenor is often placed on a list with all the others who failed to make the grade. The pathetic part is that they are all excellent, but where is this generation’s one or two greatest who are in the league with those of the past? The audiences and critics are getting nervous. They’re salivating like Pavlovian dogs — optimistically willing to make the leap of faith when any noteworthy contender surfaces.

So is Piotr Beczala “the one”? He made a splash with Anna Netrebko recently in the Met’s production of “Manon.” He is singing at all the great opera houses. So it is a feather in the cap of the Broad Stage’s director, Dale Franzen, for having landed him for his first U.S. recital, but then she is a “recovered opera singer,” she says, so she knows a good tenor when she hears one. But it goes both ways: For a singer, the Broad Stage acoustics are a dream.

So what is it about Beczala that is so engaging?

First off, he has a beautifully focused, clear, often sweet, and lyrical timbre that is ideal for certain types of pieces. There is a tear in his voice along with some ping, which was very evident from the balcony. His voice has been likened to that of Fritz Wunderlich. It has a similar quality but has not reached the depths of Wunderlich’s artistry. And his tear and vocal emotionality are still not yet at the level of my favorite tenor, the sublime Jussi Björling. Still, of today’s crop of talented tenors, there is a singular quality to his voice that is at times haunting. His emotionality and presence aren’t quite there yet, but the promise of their realization is evident.

Beczala immediately endeared himself to the audience with Giuseppe Verdi’s “Di tu se fedele” from “Un Ballo in Maschera.” But he would have served the audience better had he begun the recital with the graceful Leoncavallo melody, “Mattinata,” which he sang second.

One of the standouts of the evening was Beethoven’s “Adelaide.” Then he sang seven of the 16 songs from Schumann’s “Dichterliebe,” based on poems by Heinrich Heine on unrequited love and longing. Beczala did not disappoint, nor did his fine pianist, Brian Zeger, who played the cycle with René Pape in Los Angeles last year. Before intermission, Beczala concluded with a grouping of Strauss Lieder.

Then the program switched to Russian fare with Lenski’s arioso from Tchaikovsky’s “Eugene Onegin,” Rimsky-Korsakov’s “Song of the Indian Merchant” from “Sadko,” Jontek’s aria from Moniuszko’s “Halka,” some Karlowicz selections, Gounod’s “Ah! Lève-toi, soleil!” from “Roméo et Juliette,” and Octavio’s aria from Lehár’s “Giuditta.”

And in between, Brian Zeger played Chopin mazurkas to fill time and allow Beczala to rest his voice, I assume. Zeger was reading the music. If he was going to cross over and become a concert pianist, he should have performed Chopin with the artistry required of a concert pianist. He is an incredibly talented accompanist, sensing every nuance of a singer’s performance, every breath. Unfortunately, his interpretations of the Chopin pieces did not have the same degree of sensitivity and musicianship.

Nevertheless, the recital was about Piotr Beczala. Beczala’s strength is his lyric, focused, beautiful sound which serves him well with German Lieder, melodic Italian operas, roles like Mozart’s Tamino, and the French fare. After intermission, I heard him from a downstairs orchestra seat. His voice was fuller with less ping than from the balcony. He didn’t seem to have the Russian soul. I noticed specifically in “Zueignung,” Lenski’s arioso, and in the Lehár piece that once the narrow lyric sound was no longer essential, Beczala’s passion and onstage charisma dwindled. He should have ended the recital with “Ah! Lève-toi, soleil!” and saved the Lehár song for an encore with more added charm.

His voice sounded slightly tired at the end, not cresting at the top on one tone, not supported enough to be open and free on a few others. And he seemed a little insecure with the audience during the encores. His first, “O sole mio,” seemed out-of-place. He concluded with Rossini’s “La danza.”

But all said and done, Beczala’s voice stands out from the rest, which is encouraging, even inspiring. If he continues to perfect his craft and shine, he could be the one that everyone is searching for.

Bill Brochtrup, Laura Wernette, Micheal McShane, Abby Wilde

ANTON CHEKHOV
‘THE SEAGULL’
THE ANTAEUS COMPANY
DEAF WEST THEATRE, NORTH HOLLYWOOD, CA.
SEEN MARCH 3, 2012

By Carol Jean Delmar
Opera Theater Ink

The Antaeus Company at the Deaf West Theatre in North Hollywood has begun its 2012 season with Anton Chekhov’s “The Seagull.” The company had a shakeup last summer. Its longtime artistic director, Jeanie Hackett, moved on, although she remains a member of the company. She was recently replaced by John Sloan, Rob Nagle and Bill Brochtrup, with Tony Amendola co-leading during the transition. The artistic vision and goals of the company were questioned. Now there is a team of three at the helm.

The Antaeus Company is probably the most respected classical theatre company in Los Angeles. Others include A Noise Within in Pasadena and the Will Geer Theatricum Botanicum in Topanga Canyon. Antaeus Company members have years of experience, and their acting credentials are impeccable. Yet each company has its own personality, and some actors often travel from one to the other.

A few years ago, I saw Bo Foxworth in a production of “The Rainmaker” at A Noise Within. I thought he did a fair job, but he wasn’t broad or charismatic enough to replace Burt Lancaster’s Starbuck in the film.

However Foxworth’s performance in “The Seagull” (on March 3) was superb. He was the standout in a cast where every role and every actor could and should have matched him. Chekhov’s characters are well-developed with nuanced depth. Even the small roles leave ample space to shine.

As I was watching the first sequence of the play, I kept thinking that the actors seemed polished, yet I wondered what this classic Chekhov was lacking. The 19th-century Russian characters were beautifully costumed by A. Jeffrey Schoenberg. The great actress, Irína Arkádina (played by Laura Wernette), was sufficiently affected, exuberant, dramatic and egocentric, yet she was a bit over-exaggerated and loud. Her son, Konstantín Tréplev (Antonio Jaramillo), didn’t seem Russian, although he was handsome, charismatic and emotionally endowed. His Latin enunciation made me question his Russian lineage. Nína and Másha, the two young daughters of other characters, looked relatively apropos, but somehow seemed imperfect. Nína (played by Abby Wilde) was in love with the famous novelist, Trigórin (played by Foxworth), who was supposedly hooked to Arkádina but found time to attract Nína, then threw her away before returning to Arkádina. But Tréplev remained in love with Nína, who threw him away for Trigórin. And Másha (Joanna Strapp) was in love with Tréplev but married a teacher named Medvedénko (Bill Brochtrup), since she realized that Tréplev would never be hers.

This is a play of artistic pursuits, relationships and unrequited love. The actors acted up a storm, including Dawn Didawick, who played Paulína, the wife of Ilyá Shamráyev (Armin Shimerman) who managed the estate owned by Pyótr Sórin, Arkádina’s sick brother, played colorfully by Micheal McShane.

It wasn’t until Bo Foxworth uttered his first lines that I figured out what was lacking. The actors were laboriously acting. The result was loud, sometimes high-pitched voices, and forced, often overdone characterizations. The consequence was that the play didn’t have the grace, elegance and style which Chekhov so nobly deserves. The English usually excel in this area, but we Americans should be able to lend the same panache to a production as well. I tried to see what Foxworth was doing so aptly. His language was more eloquent than the others. He became the character with little visible effort. He wasn’t trying to show us that he could act. His mannerisms and movements didn’t look contrived as if presented to him by a director. He incorporated minute touches that made his character multidimensional, and his performance was therefore elegant, stylish and real.

Abby Wilde finally came into her own toward the end of the play when her Nína returned to Tréplev. Reality set in and her character became tragic, conflicted and nuanced.

There was something very earthy and refreshing about Joanna Strapp’s Másha. “I’m in mourning for my life,” she said tragically and tellingly.

Didawick added a comic touch as Paulína, creating a totally unique character that was hers. Kurtwood Smith (Dorn), Shimerman and Brochtrup were well-cast. The maid, Janice Kent, was enjoyable when moving furniture in costume during intermission. And once I became accustomed to Jaramillo as Tréplev, his charisma, energy and emotionality drew me in, especially when he was overcome with despair.

The minimal set was effective and worthy. The lighting and sound design were equally proficient in execution. Director Andrew J. Traister did a fine job of adapting the play to the space.

But the actors need to stop all the overtly observable acting and create multilayered characters in a production that exhibits more style, truth and grace. Anton Chekhov deserves no less.

Director: Andrew J. Traister
Translator: Paul Schmidt
Scenic Design: Lechetti Design
Lighting Design: Jeremy Pivnick
Sound Design: Jeff Gardner
Costume Design: A. Jeffrey Schoenberg
Prop Design: Heather Ho
Stage Manager: Lara E. Nall
Technical Director: Red Colegrove
Production Manager: Adam Meyer
Assistant Stage Manager: Jacqueline Adorni
Photo: Karianne Flaathen

‘The Seagull’ is double cast and plays through April 15, 2012.
Box Office at 818-506-1983
Antaeus.org

Bo Foxworth, Abby Wilde