Both are back-stage operas that feature opera singers auditioning for the same roles. Mozart came up with the brief Der Schauspieldirektor (The Impresario), K.486, a Singspiel or "play with music" and was of course, in German. It had singing roles for a vocal quartet, plus seven non-singing actors. Salieri produced Prima la Musica, Poi le Parole (First the Music, Then the Words)—a theatrical divertimento—for a vocal quartet that sings in Italian.
It was all great fun at CIM last week when these two one-act operas were staged back-to-back. David Bamberger, who retired from Cleveland Opera last year after thirty years as its founder/director, and was immediately hired as Artistic Director of CIM’s Opera Department, kept the action snappy and light-hearted in a way that suited both the operas and his young talent.
The Impresario was set in an apartment in Manhattan during the 1920s, while the Salieri work used the same basic set, but changed to a hippy-dippy sort of establishment. Costumes by Esther Montgomery were both appealing and appropriate, helping to establish the proper time-frame, helped greatly by the expert wigs and makeup of Alison Garrigan. Dave Brooks designed the charming set that portrayed either an upscale living room/salon or a shabby/chic beatnik pad. Lighting by Colleen Dowling enhanced both versions. Harry Davidson, a native of Cleveland now usually found at Duke University in North Carolina, led the CIM student orchestra in an accurate and bright performance. Opera coach/accompanist John Simmons doubled on harpsichord/continuo in the Salieri work.
The libretto of The Impresario was changed ever-so-slightly to require just three singers: Madame Goldentrill was sung by Marilyn Reid Smith; Mr. Angel was Adam J. Smith and Madamoiselle Silverpeal was Tracy A. Labrecque. The short opera, which has more spoken words than singing, was perhaps closer to a drawing room comedy, and fortunately, each of the singers was a more than capable actor as well. Mr. Angel was kept rather busy trying to separate his two dueling divas, who at times treated him as the ham in the middle of the sandwich.
The two sopranos had evidently paid close attention to their classes on diva-dom; however, it was Mlle. Silverpeal who excelled in the art of up-staging, masterfully dangling her fur scarf from an extended arm, thereby completely obliterating the face of her erstwhile competitor from the audience! Vocally, all three singers demonstrated excellent singing techniques; their runs and trills were clear and distinct, and borrowing words from Mme. Goldentrill, ‘German makes everything sound significant!’ Indeed.
The great surprise of the evening, however, was the second act--First the Music, Then the Words. Having been somewhat brainwashed during the last thirty or so years as to the supposed mediocrity of Antonio Salieri, his music is a truly refreshing surprise. The libretto, written by Gian Battista Casti, was almost a farce, especially under the fast-paced direction of Mr. Bamberger. Basically the plot is: a fictional Count commissions an opera to be performed at a banquet. (Sound familiar?) His court composer however, wishes to use music he’s found in a stack of old manuscripts. The court poet rebels—he does not wish to write words for a musty old opera. And of course, each man has his own idea as to who should sing the starring role. One wants a singing actress, the other an acting singer. Finally, a compromise is reached and the ladies agree to share the spotlight.
The composer was sung by Peter Bush and the poet was J. Andrew Macbeth. The divas were Katie Oldham as Eleanora and Amy Irvine as Tonina. Vocally, they were well-matched; the two men are both baritones, while Ms. Oldham is a mezzo and Ms. Irvine a soprano. In addition, the acting here was first rate, with Mr. Macbeth taking the honors for his rubbery-limbed hippie characterization. The character of Eleanora is a tragic sort of figure, and it appeared that Ms. Oldham might have studied emotion with the great Pavarotti. Her parting ‘addio’ nearly brought down the house! By contrast, Tonina was all kookie temperament—throwing things, gesturing in the grand manner and generally trying to reduce the men—and the apartment—to a shambles, all while singing and dancing at the same time! Amazing.
Both Mr. Bush and Mr. Macbeth exhibited a neat falsetto at various times, and in their own normal voices, combined for a gorgeous duet, which I think extolled the art of cooperation, and a bit of warning: “It’s staccato—not castrato!” And, in an odd concept for an opera—it all ends happily.
The production was double cast, thus allowing more young singers to participate. The other casts were Natasha Ospina as Mme. Goldentrill, Jermaine Jackson as Mr. Angel and Jung Eun Oh as Mlle. Silverpeal in the Mozart and Richard Ollarsaba as the composer, John Gray Watson as the poet, Jaclyn Surso as Eleanora and Elisa Singer as Tonina in the Salieri.
The next production by the CIM Opera Theater will be “The Sounds of Music” drawn from various operas. The school regularly presents concerts and recitals by both faculty and students, as well as guest artists. For tickets or other information about any of these presentations, visit the web-site: http://www.cim.edu or call (216) 791-5000.
From Cool Cleveland contributor Kelly Ferjutz artswriterATadelphia.net (:divend:)