Classical Voice  : Notable Notes
 


Notable Notes --  January, 2008
 

     Pasadena Symphony   
     Magic Flute, Opera Pacific
     Musica Angelica: La Serva Padrona   
     The Royal Concertgebouw Orchestra
 
  Jan 12  Pasadena Symphony
PROGRAM: Mozart- La Clemenza di Tito overture K.621; Mozart- Symphony No. 34 in C Major K.338;  Mozart- Mass in c-minor K.427.  Jorge Mester, Conductor.  The Occidental Chorale.  Soloists- Jamie Chamberlin (S), Shana Blake Hill (A), Randall Bills (T), Jinyoung Jang (B).

W

hat do you do to top a wildly successful concert of Beethoven symphonies?  You kick it up a notch with two high-octane orchestral works by Mozart, followed by a full-scale Catholic mass – Mozart’s “Great” Mass in c-minor.  If Beethoven’s symphonies are like titanic behemoths knocking on the gates of Heaven, then Mozart’s works must represent celestial beings, perfect in form and proportion, already inhabiting the Elysian fields.  This is not to say Mozart’s music is pure sugar puff devoid of Sturm und Drang, but rather an affirmation that, whatever strife and tribulations life may throw at us, they are all a part of a higher, perfect design that will reveal itself to us after we have persevered and reached our goals. 

As their Köchel Catalog numbers suggest, the opera La Clemenza di Tito (K.621) and Symphony No. 34 in C-Major (K.338) came from disparate periods in Mozart’s life – one early, relatively happy times, the other dire and difficult final days.  But as is the case with Mozart (these were pre-Romantic, pre-Artist-as-Hero days, after all), the sheer equanimity and optimism these works project belie the often desperate circumstances in which they were written.  Conductor Jorge Mester tackled the opera’s overture and the youthful C-major symphony with tremendous enthusiasm and Beethovenian brio.  The echoes of Beethoven’s heroic “Egmont” Overture could be heard, notably in the insistent droning of woodwinds against the violas in the “La Clemenza” overture.  In the symphony’s Andante, romp and play gave way to deep Zen-like respite, played by the beautifully nuanced Pasadena Symphony strings.

Debates and speculations abound on the great but unfinished Mass in c-minor (K.427).  The occasion for the mass was Mozart’s own wedding in 1783.  Why did he fail to finish it after the Credo?  And why did he choose c-minor, a key normally associated with tragic and complicated emotions (the c-minor piano sonata, for example)?  Was he perhaps foreseeing the difficulties lying ahead in the marriage (due in part to Papa Leopold’s disapproval)?   Certainly, the music is not your typical celebratory ‘wedding music’.  Some passages are overpowering in their severe fugal style, and the stabbing figures in the strings during “Domine Deus” in the Gloria are positively chilling.  So, there might be a case to be made that Mozart had foreseen troubles ahead.

Maestro Mester tried to give an as polished and well-rounded performance as he could of this unfinished masterpiece.   He succeeded more often than not, transforming the orchestra into a plush, tightly-woven tapestry of sounds.  The oboe and flute playing were particularly enchanting in the soprano aria “Et incarnatus est”.   The use of the large 80-plus Occidental Chorale, as magnificent as they were, proved too ponderous and unwieldy in the opening of the Credo, where the furious tempo in the orchestra threatened to throw them off.   Also, the maestro was not helped by the quartet of soloists who, with the exception of bass Jinyoung Jang, had little understanding of the Mozart style – singing in squalid tones or near-inaudibly, a far cry from the excellent quartet of last month’s Beethoven Ninth.   I know it is probably not a Music Director's job to hire or fire artists and staff (such decisions are made by the Boards these days, lamentably), but I cringe at the thought of one of tonight’s sopranos singing Mahler’s ‘Childlike Vision of Heaven’ and all its undiluted pleasures in next month’s concert.  The great Pasadena Symphony deserves better. 

Reviewed by Truman C. Wang

For information on Pasadena Symphony's 2007-2008 season, visit www.pasadenasymphony.org
 

                                                                                                                    
 


Jan 23  Opera Pacific, The Magic Flute
 

CAST: Chad Shelton (Tamino), Nicole Cabell (Pamina), Luz del Alba (Queen of the Night), Morris Robinson (Sarastro), Rodney Gilfry (Papageno), Erin Wood, Priti Gandhi, Audrey Babcock (Three Ladies), Scott Scully (Monostatos), Tonna Miller (Papagena), Derrick Parker (Speaker), Chad Berlinghieri (First Priest).  John DeMain, conductor
 

D

ie Zauberflöte (Magic Flute) is one opera I shall never tired of seeing. It never ceases to delight audiences with the hummable melodies and the engaging characters. When Wolfgang Amadeus Mozart wrote this piece, his very last opera, to the libretto by Emanual Schikaneder, I am sure they had no notion that over 200 years later it would be the most beloved operas of all time.  The opera first performed in Vienna on September 30, 1791, at the  Freihaus-Theater auf der Wieden. With Herr Mozart conducting the orchestra and Schikaneder playing Papageno. The Masonic themes are prevalent throughout and the references to enlightened absolutism, Mozart and Schikaneder were lodge brothers. This opera was written with specific singers in mind, so the parts reflect the skill of the singers originally cast. So you will notice some of the arias begin on an obvious matched note, such as those written for Papageno, vs. a more complex beginning for both arias sing by the Queen of the Night, who was originally sung by Mozart's sister-in-law, Josepha Hofer.


 

Opera Pacific brought a delightful production to their Orange County audiences on January 23rd, 2008. Jauntily conducted by John DeMain and directed by Gillian Smith, using the mysterious and moody sets Dr. Michael Hampe and Alberto Andreis, with fantastical costumes by Zandra Rose that came originally from San Diego Opera, but fit the stage at Segerstrom Hall nicely and the brightly colored costumes reminded us in a darker setting that the characters were the most important in this whimsical work. Particularly impressive was the large draped platform for the Queen of the Nights first aria "O zittre nicht, mein lieber Sohn." Also flying is was the stylish golden chariot of the three boys. As always, the Opera Pacific Chorus under the direction of Henri Venanzi showed themselves to be an asset to the company. They are very good consistently and always an agreeable group to have on hand.

Pamina was sung to perfection by Nicole Cabell in her Opera Pacific debut. Miss Cabell was the winner of the 2005 BBC Singer of the World Competition in Cardiff, and it is easy to see why. She sings with assurance, excellent intonation but still approaches her phrasing delicately, interesting for such a strong voice. She was radiantly beautiful in her costume and portrayed the often put upon Pamina with aplomb. Chad Shelton, we have seen at Opera Pacific last season in “Carmen” and his warm tenor voice has improved immensely over the last year. He gave a strong performance as Tamino, filling the hall with his rich tone. He was brave and loyal, everything you could want in that character. They had a nice chemistry as the lovers who overcome much and end up happily together.

Native Southern California  baritone Rod Gilfey has finally made it over to the neighboring opera company to the joy of the Orange County audiences in this much overdue debut with the company. His charismatic portrayal of Papageno, was the very definition of comic relief. As the hedonistic and often slightly ridiculous bird catcher, he made Papageno lovable. His singing was strong and fit the role like a glove. His Papageno was the petite Tonna Miller, whom we saw last season in “The Elixir of Love”. Her spunky portrayal was the perfect foil for the silly Papageno. Their duet " "Papageno! Papagena!" was irresistible. Apparently it was a happy and fertile union because their tiny doppelganger offspring increased with each curtain call.

The Sarastro was a big booming bass, Morris Robinson in another company debut. To listen to it was thrilling and he sung with an excellent command of both technique and complete understanding of the character. His authority was palpable. His nemesis, the Queen of the Night, was played by Luz de Alba Rubio, and was properly just as half crazed as one evil queen should be. Her Three Ladies, Erin Wood, Priti Gandhi and Audrey Babcock respectively, were alternately amusing and threatening. Whether lusting after an unconscious Tamino, or padlocking the mouth of the mouth of the recalcitrant Papageno, or trying to tempt our heroes from completing their trials, they were a glittering and feisty treat. The wigs that they wore, looked mightily uncomfortable but you would never have noticed it, they were smooth and polished throughout the performance. Scott Scully was a deliciously icky and bright blue Monostatos. It was nice to see him, we saw him last in the “Pagliacci/Carmina Burana” of the 2004 season and it would be nice to see him more.

There are three performances left (1/27, 1/31, 2/2) and whether you are a diehard fan, or attending an opera for the very first time, this is sure to be a most gratifying experience and one that can be easily understood and appreciated by the entire family.

Reviewed by Dawn Southwick

 


 
    Jan 20  Musica Angelica, La Serva Padrona

PROGRAM: Pergolesi- La Serva Padrona (semi staged); Telemann- Gulliver Suite; Farina- Capriccio Stravagante; P.D.Q. Bach- Sonata for Viola Four Hands. Elizabeth Blumenstock violin Christine Brandes soprano Nathaniel Watson baritone.
 

T

he Los Angeles baroque music ensemble Musica Angelica gave us a fun, lighthearted concert All Saint's Episcopal Church in Beverly Hills on January 20, 2008 at 4 PM. Musica Angelica is a small but gifted ensemble dedicated to presenting little known "gems" of the baroque era. First on their program was the Gulliver Suite, by George Philip Telemann. Next up was an interesting little piece was composed by Carlo Farina, Capriccio Stravagante, that has the strings used in ways to imitate other instruments, and eventually even dogs. The final instrumental piece was a rousing performance of the PDQ Bach piece Sonata for Viola, Four Hands and Harpsichord. With dueling viola players playing one viola, using at times a saw, then a very long string, it was very charming and played with the deadpan seriousness that sort of music calls for.

The second half  of the program was La Serva Padrona (The Servant Mistress) by Giovanni Battista Pergolesi with a libretto by Gennaro Antonio Federico, originally based on the play by Jacopo Angello Nelli. This work was originally an intermezzo paired with Pergolesi's opera seria Il prigioniero superbo (The Proud Prisoner). It premiered on September 5th, 1733 in Naples, celebrating the birthday of the Empress of Habsburg. Il prigioniero superbo was not successful, and at a later time the two works were separated, while La Serva Padrona went on to popularity throughout Europe. for many years after the premiere. This piece is often seen as important in transitioning from baroque to the classical period. The characterizations are fresh and easily accessible to most audiences and it serves as a very amusing little opera buffa with lilting and infectious melodies.

This semi-staged version was engaging and quickly paced, using minimal props. The version they used of this piece was a public domain facsimile that was found on the University of Texas library website, using an English libretto by Donald Pippin, that they had modified slightly. It is rather short, at 45 minutes, but the entertaining storyline makes it seem to fly by even faster.

Soprano Christine Brandes, whom we saw last season at Los Angeles Opera as Druscilla in the brilliant production of Monteverdi’s Coronation of Poppea, played the saucy maidservant, Serpina. She has a warm and lovely voice, with superior intonation, difficult in that kind of acoustically live venue. Her acting hit a perfect note, with good comedic timing and a sense of fun. Being in the smaller, more resonant venue, made listening to her all the more enjoyable. She navigated the demanding baroque runs with clarity and accuracy. Her master Uberto was played to good comic effect by baritone Nathaniel Watson, who captured the sometimes stodgy bachelor with excellent timing. Vespone, their mute servant was played by Don Luce.

The musicians were overall quite superior, with a good understanding of the music.They got a chance to use their comedy skills, and were up to the task. Elizabeth Blumenstock, who is also their Artistic Director, and Janet Worsley-Straus played violin. Suzanna Giordano Gignac was the much put upon violist and William Skeen played the cello, as well as the other two hands on the viola during the PDQ Bach. Lucinda Carver rounded out the ensemble on the harpsichord.

It was a most diverting and pleasant evening.

Reviewed by Dawn Southwick
 

 
    Jan 29  The Royal Concertgebouw Orchestra

Stay tuned...
 

 


 

 
 
     

Dawn Southwick is a Classical Voice correspondent based in Los Angeles.

Truman C. Wang is editor-in-chief of Classical Voice, whose articles have appeared in the San Gabriel Valley Tribune, the Pasadena Star-News, other Southern California publications, as well as the Hawaiian Chinese Daily.

 

 

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