Headshot of La Cieca

Cher Public

  • Bill: Feldmarschallin – Steber simply did not have the radiance of voice as Arabella (and in some other... 8:02 AM
  • williams: Or this? httpv://youtu.be/- M1veT8qUKQ 7:22 AM
  • MontyNostry: I thought you were talking about these guys … http://www.rush.co m/ 7:03 AM
  • williams: Ah Feldmarschallin! I smile and sigh at your naïveté. People pay well over face value for tickets... 6:29 AM
  • Feldmarschallin: But do not those Rush tickets have the prices paid on the ticket. How can one sell the... 6:17 AM
  • williams: There is a thriving secondary market for Rush tickets. A glance, for example, at Craigslist reveals... 5:58 AM
  • Feldmarschallin: BTW I got a very strange email from Todd. Did your account get hacked? You might want to... 4:11 AM
  • Feldmarschallin: Well Flora I must disagree with you. As much as I love Steber her Arabella cannot really be... 3:44 AM
  • Flora del Rio Grande: Mme Marschallin, my I suggest a better comment would be we haven’t had an... 1:01 AM
  • Guestoria Unpopularenka: I would welcome that. They should replace both of the hosts. 12:21 AM

Get happy

Lincoln Center hosted two milestones this week: on Wednesday, The Juilliard School produced a gripping production of Handel’s Radamisto incorporating into an opera for the first time its much-heralded original-instrument orchestra Juilliard 415, while the following night saw choreographer Mark Morris’s radiant setting of Handel’s L’Allegro, il Penseroso ed il Moderato returning to celebrate its 25th anniversary as part of the White Light Festival.  

Given the relative scarcity of Handel’s operas in New York City, it is remarkable that Radamisto was preceded earlier this year by a concert version by The English Concert at Carnegie Hall.

However, Juilliard’s was fully staged in a strikingly simple but powerful production directed by James Darrah and designed by Emily Anne MacDonald, Cameron Jaye Mock and Sara Jean Tosetti. The stage of the Peter Jay Sharp Theater was bare except for a 12-foot wall in front of which the singers performed using only a few chairs to differentiate scenes and locales. This effectively focused attention on the trials of Radamisto and Zenobia as they struggled to escape the political and sexual advances of the rapacious Tiridate.

As is usually deemed necessary, this great work was substantially abridged, but those cuts were done with care, although I missed Radamisto’s remarkable third-act aria, “Dolce bene di quest’alma.” Nearly all the da capo repeats were honored—only the reduction of Tigrane’s “Vuol ch’io serva” to just its A section proved jarring.

Many were surprised when Julian Wachner was announced as the conductor for Radamisto. The Director of Music and the Arts at Trinity Wall Street and director of Trinity’s wildly successful Bach at One series, he has relatively little opera experience, but, happily, Wachner proved an exciting choice, leading a propulsive and nuanced performance while drawing idiomatic, if occasionally erratic playing from his young and eager orchestra. His oboes struggled and string intonation was sometimes wayward, but all in all it was a gratifying first step toward incorporating Juilliard 415 into larger projects

However, it was disappointing that during the enthusiastic final applause Wachner failed to acknowledge his heroic continuo team of cellist Michael Unterman, harpsichordist Patrick Jones and theorbist Kevin Payne. And I wondered why Zenobia’s wrenching cavatina “Quando mai, spietata sorte” was accompanied by two traverse flutes rather than by an aching oboe as done in all other performances and recordings I’ve heard.

The cast of seven singers performed with a clear understanding of Handel style, yet ornamentation throughout was consistently ill-judged. In light of this, I was surprised to read comments in the November issue of The Juilliard Journal by Brian Zeger, the artistic director of the Marcus Institute for Vocal Arts where he says,

Since ornamentation is integral to the style, each singer needs to learn to ornament in a way that fits the musical style, highlights the dramatic moment, and flatters their voice. Our coaches and, ultimately, the conductor will help guide them toward these solutions.

Here Wachner and his colleagues let down their cast: many arias found the singer performing strenuous cadenzas (particularly ending the B section) what inevitably took them well beyond their comfort zones. All too often this resulted in strained high notes that flattered neither the singer nor the music.

Despite the misguided ornamentation, the cast performed admirably with countertenor John Holiday in the title role displaying a sweet, high voice that coped admirably with slower arias like “Cara sposa” and “Ombra cara.” If he was somewhat less successful in the showier bravura pieces, he still made an excellent impression despite a sometimes disconcertingly passive stage manner. As his much put-upon wife Zenobia, French mezzo Virginie Verrez gave a thrilling, no-holds-barred portrayal that occasionally brushed aside the niceties of baroque style and veered toward something more veristic.

Soprano Mary Feminear as Radamisto’s sister Polissena was equally fearless, but she suffered most from overly-ambitious ornaments that pushed her harsh and screamy. This was unfortunate since she displayed a real command of the style in particular bringing down the house with the bravura “Dopo l’orride procelle” which ends Handel’s first of three acts—Juilliard instead divided the opera into two parts, concluding the first half with “Ombra cara.”

As Polisenna’s shockingly brutish husband Tiridate, commanding bass-baritone Aubrey Allicock (who was such a marvelous Forester in Juilliard’s production last season of Janácek’s Príhody lisky Bystrousky) again demonstrated why he has been mentioned as one of his generation’s more promising young singers although one doubts that Handel will remain a part of his core repertoire.

As Fraarte (a role completely omitted from The English Concert’s performance) and Tigrane, sopranos Pureum Jo and Elizabeth Sutphen seemed often over their heads in florid music that challenged their still-developing techniques. Bass Elliott Carlton Hines worked hard as Radamisto’s father Farasmane for little reward as his single aria was omitted.

Thanks to Wachner and Darrah’s intensity and passion, this Radamisto (being performed until Sunday) proved to a rapt and appreciative audience that heroic opera seria can be consistently enthralling, not the intimidating art form it can appear to be.

Morris’s masterwork might also be seen as a challenge to modern audiences: L’Allegro is a two-hour pastoral ode written by Handel in 1740 in a little over two weeks to texts drawn from two works by John Milton, author of Paradise Lost.

Unlike the operas or oratorios, there are no characters, no secco recitatives and no plot; instead the text debates the desirability of a life devoted to either “mirth” or “melancholy.” However, Handel and his collaborators apparently decided that neither represented the ideal, so a third section Il Moderato was added that proposed that one should embrace instead a life of moderation.

Morris has long been interested in baroque music, particularly vocal music, and his early works include Gloria (Vivaldi’s setting of that sacred text), Jealousy (using a chorus from Handel’s Hercules) and One Charming Night (from The Fairy Queen, as well as other works by Purcell). He has also staged Purcell’s King Arthur and Rameau’s Platée, both of which were seen at the late New York City Opera.

So it was no surprise that Morris chose Handel’s bucolic L’Allegro to inaugurate the tenure of the Mark Morris Dance Group as ensemble-in-residence at Brussels’s Théâtre Royal de la Monnaie. With the resources offered there by Gerard Mortier, he was able to mount his most ambitious work ever, an evening-length piece for 24 dancers, with an orchestra, chorus and four vocal soloists in the pit; it premiered on November 23, 1988 and remains perhaps his most acclaimed work.

The MMDG has mounted L’Allegro every year since 1994 and these three performances at White Light are the work’s seventh New York engagement since its 1990 US premiere at the Brooklyn Academy of Music. I vividly remember attending that initial run; I was not yet living in New York, and although I had read about Morris’s work and seen his marvelous Dance in America episode on PBS (which featured sections of Gloria), I knew I had to make a special trip to see my first live Morris. Perhaps because I already knew Handel’s music well, L’Allegro immediately worked its joyous magic on me as well as the hundreds at BAM who shouted their approval at the final curtain. I caught it again at Lincoln Center in 1995 and 2002 finding it as intoxicatingly vernal as it did on Thursday at the Koch Theater.

Aided by the extraordinarily subtle, beautiful sets of Adrianne Lobel, costumes by Christine Van Loon and lighting by James Ingalls, Morris creates an idyllic communal world where no individual holds precedence for more than a moment. L’Allegro features performers who rarely dance alone, more likely each is accompanied by at least one other dancer, while quite often the entire ensemble fills the stage. Often the movements and combinations are extremely intricate but occasionally dancers simply traipse across the stage hand-in-hand.

Morris tampers with Handel a bit—moving some numbers around and omitting much of Il Moderato, so the work ends not with a chorus praising “moderation” but instead with the triumphant chorus “These delights if thou canst give,/Mirth, with thee we mean to live.” However, one of the most enthralling numbers is set to Il Moderato’s sublime soprano-tenor duet “As steals the morn” where the dancers divide into four lines of six criss-crossing the stage in increasingly intricate forms. These patterns mystically mirror Handel’s music in such a powerfully moving way that once again I found myself in tears.

Although occasionally it becomes mimetic (a witty hunting episode shows the prey escaping the pursuing dogs), most of the choreography becomes instead a rapturous transformation of the words and music into movement so right, so ravishing that it indelibly imprints on one’s consciousness. It’s nearly impossible now to hear the score (which I have been helplessly listening to for days) without “seeing” Morris’s work. The same thing occurs when I listen to Tchaikovsky’s Serenade for Strings and involuntarily “see” George Balanchine’s choreography throughout.

As always the members of the MMDG moved with witty vivacity and a disarming lack of ego: the goal is always the primacy of the group rather than the individual. Rarely does one experience an ensemble that so effortlessly embodies the joy of performing.

Sadly, musical matters were less satisfying; conducting the MMDG Music Ensemble and the Riverside Choral Society Chamber Singers, L’Allegro veteran Nicholas McGegan drew a measured and disciplined performance. I was disappointed though that an original-instrument group wasn’t used, as it was when McGegan conducted his own Philharmonia Baroque when I last saw L’Allegro–during the 2002 Mostly Mozart Festival.

The use of a modern flute for “Sweet bird” was less happy, and the substitution of a celesta (which wasn’t even invented until the 1880s) for Handel’s carillon for the beginning of the miraculous “O let the merry bells ring round” chorus which ends the first half was bizarre and unsatisfying.

However, the greater problem was the soloists. Soprano Yulia Van Doren was the best of the quartet, singing cleanly and with sweetness, and, while he occasionally struggled with the coloratura, bass Douglas Williams was otherwise satisfying.

On the other hand, soprano Dominique Labelle and tenor John McVeigh bordered on the disastrous. Labelle, long a favorite of McGegan’s and whom I have previously admired as a lovely advocate of Handel’s music, seemed to be in serious vocal distress where every high note emerged as a loud scream even in the midst of a quiet vocal line. Perhaps the orchestra’s (presumed) tuning at 440 rather than at lower baroque pitch disconcerted her. McVeigh was even more troubling, his tenor now ugly and throaty and only able to negotiate high notes by resorting to grotesque yelps.

For those yearning for a more satisfying traversal of Handel’s bewitching score, a very fine recording conducted by Peter Neumann has recently been released on Carus, while John Eliot Gardiner’s classic version happily remains available.

Morris returns to Handel for the first time since L’Allegro this spring when he sets Acis and Galatea (albeit in the Mozart realization) for Berkeley and Boston. One can only hope that he will once again reveal the magic in Handel that he mined so superbly in his now 25-year-old masterpiece.

Photos: Kevin Yatarola (L’Allegro); Nan Melville (Radamisto)

18 comments

  • phoenix says:

    Mi dios! Más publicidad engañosa!
    - You whet our appetites with a mouthwatering drumstick in the foto but clicking on ‘More’ brings nomore goodies -- unfulfilled expectations!

    • Camille says:

      I see jazz hands, not drumsticks.

      This is very helpful to me for I will see the Radamisto tomorrow, and is appreciated as a guide. Perhaps staged, I will enjoy it more than the CH performance earlier in the year with the English Concert, which left me a little indifferent, or someway unsatisfied.

      The Mark Morris piece was the one thing that turned me around with his work, when I saw it in the previous mounting at Lincoln Center. I do think ot a lovely piece of work and urge those who haven’t already seen it to give it a try.

  • Bianca Castafiore says:

    Does anyone else recall that at those early perf. at BAM in the 90′s one of the soloists was Lorraine Hunt?

    • phoenix says:

      I used to go to BAM in the 1980′s & 90′s. I don’t collect audio recordings of baroque, but enjoyed the live performances. At BAM (with Les Arts Florissants) I remember Lorraine Hunt as Charpentier’s Médée and Phèdre in Rameau’s Hippolyte et Aricie. She sang at that venue many times, up until at least 2006 or so.

    • phoenix says:

      Ooops -- typo! I meant 2001, not 2006. If I remember correctly, she sang a Bach work in 2006 at BAM, but I don’t think it was her last appearance there.

      • phoenix says:

        Same typo! I meant she sang a Bach work in 2001, not 2006. She died in 2006 and maybe that’s why the year stays in my mind.

        • Bianca Castafiore says:

          fenice, I recall that Hunt Lieberson did sing this work for MM, I want to say in the 90′s, before she became famous.

          Here’s one mention of it that I could find although not date is given:

          http://www.theguardian.com/music/2013/may/28/lorraine-hunt-lieberson-tribute-alex-ross

          “She went on to sing in a series of Handel performances and recordings with the Philharmonia Baroque, also of Berkeley, and appeared in Mark Morris’s celebrated choreographic stagings of Handel’s L’Allegro, il Penseroso ed il Moderato and Purcell’s Dido and Aeneas. “

  • overstimmelated says:

    At last night’s “Radamisto,” I’d have to say it was the Zenobia who turned strident or acidulous; the Polissena (Mary Feminear) was rich-toned and, as noted, had a real command of the style.

  • operacat says:

    I echo the calls for anyone who has not seen the Mark Morris to get there immediately. I think it is one of the most joyful works of art I have ever seen.

    • SilvestriWoman says:

      Add my voice to that! When I saw this work here in Chicago, I pretty much wept with wonder and joy through the whole thing. Breathtaking masterpiece by one of the greatest choreographers of all time, and arguably the greatest one living.

      • Rackon says:

        Yes yes yes! Me three. I also saw this in Chicago, and I saw Morris dance Dido in Dido and Aneas there a few years ago, another of his most important (and purely wonderful) works.

        I see the Morris company any time I can, but would have to include Paul Taylor alongside MM as “greatest loving choreographer.”

  • Quanto Painy Fakor says:

    Preparing for her Juillard audition:

  • DeCaffarrelli says:

    The Mark Morris Dance Group has a great website which includes the complete archive of every performance they’ve ever given.

    On the L’Allegro page,

    http://markmorrisdancegroup.org/resources/performance_archive/work/l-allegro-il-penseroso-ed-il-moderato

    Lorraine Hunt’s name pops up for the 1995 performances at the former New York State Theater, one of which I attended. (Singers aren’t always listed in every archive entry unfortunately).

    She also did at least one run of Morris’s Dido and Aeneas.

  • turings says:

    Thanks for the review – I would love to be in New York to see this! One of the things that first got me interested in opera was seeing a dvd of his Dido and Aeneas. He is phenomenal in that. I would love to see it live, though I don’t suppose he still takes the role himself.

  • Howling in Tune says:

    Marvelous work as always, DeCaffarelli!

    One thing, though: Can we really, if we’re fair, hold Julian Wachner responsible for the Juilliard student singers’ ill-advised cadenzas?

    I don’t know this, but I would guess that Wachner basically came in to rehearse the orchestra and conduct full orchestra rehearsals and performances. I would imagine that the cadenzas were worked out and rehearsed by the voice teachers and coaches on the Juilliard faculty. They’d be the ones who let down the student singers.

    If Juilliard’s voice department is going to make a serious try at teaching students Baroque vocal style as a counterpart to the period-instrument program, then they need to bring in someone like Julianne Baird or Drew Minter to teach an entire unit on ornamentation and cadenzas.

  • Camille says:

    I can’t handle Händel.
    Today I was all set and ready and dressed in eighteen layers of wool and got on the train and got out—
    And bailed.

    Barneys windows are fab for Christmas, I can tell you that.