Tosca - Dicapo Opera Theatre

HEMSING ASSOCIATES
401 East 80th Street, Suite 14H
New York, NY 10075-0650
Tel.: 212/772-1132 Fax: 212/628-4255
E-mail: [email protected]
OPERA PULSE
operapulse.com
December 12, 2011
Tchaikovsky’s Iolanta at Dicapo Opera
By Steven Jude Tietjen
New York, NY – A multi-million dollar budget cannot buy the type of imagination and ingenuity that is
engendered by willpower, dedication, and modest means. Dicapo Opera Theatre, one of the best of New
York City’s many small opera companies, has been performing a wide range of repertory staples, neglected
works of the canon, and world and national premieres for thirty years on a less than bloated budget. This
fall’s production of Tchaikovsky’s one act fairy-tale Iolanta was proof that the secret to opera’s mystical
allure does not lie in opulent sets, high profile glamour stars, or a chorus of a thousand, but in a healthy
exercise of the imagination and a lot of love.
Written only a year before his death, Iolanta is only one of three of Tchaikovsky’s eleven operas not based
on a Russian subject or Russian text. The composer’s brother, Modest Tchaikovsky, adapted the libretto
from Danish playwright Henrik Hertz’s play, King Rene’s Daughter. As in most fairy tales, the story is
relatively simple, with unambiguous stock characters, a fantastical obstacle, and a happily-ever-after
denouement. The blind daughter of King Rene, Iolanta, lives in isolation with her nanny, the requisite
matronly Russian contralto, and her many ladies-in-waiting. Iolanta is unaware that she is blind, or even a
princess, until Robert, the Duke of Burgundy, and his companion Vaudemont trespass into her garden.
Vaudemont instantly falls in love with Iolanta, but to his dismay discovers that she is blind. As he sings to
her of the glory of sight, light, and God, they fall in love, but Iolanta is still content to be blind. Not until her
father condemns Vaudemont to death for making Iolanta aware of her affliction, does she want to see in
order to save Vaudemont’s life. The opera ends with Iolanta’s cure and a radiant, powerful chorus in praise
of light and the creator.
The monochromatic set consisting of five dark panels covered in black ivy and flowers at first seems a little
“low-budget,” but it is a choice that reflects what Iolanta sees: darkness. This pervasive darkness is relieved
by the jubilantly outfitted chorus women who flaunt dresses of pink, purple, red, and yellow. The constant
darkness is justified by the magnificent ending: As Iolanta gains the ability to see, the five panels and the
dark sheets covering the stage are removed, revealing a large painted sun. Just as Iolanta is suddenly
overcome with light, the audience too experiences the surprise and brilliance of this awesome moment. The
effect was cleverly conceived and powerfully realized by director Michael Capasso with set and light
designs by John Farrell and Susan Roth.
Corinne Winters sang the title role with robust lyricism. Within her small frame – she really looked like a
delicate 15 year old princess – she houses an instrument of laudable size and enviable color. Playing a blind
character is a treacherous assignment, however, and Winters often appeared to be somewhere between
totally indifferent and a little aloof. Regardless of her static facial expressions, her voice resonated with
character and emotion, and that is what is really important.
Alex Richardson as Vaudemont matched Winters in sincerity and soul. His phrases were infinite in length
even at the upper reaches of his range, in which he sometimes abandoned the beauty and core in middle
voice but never his finesse. The lengthy duet between Iolanta and Vaudemont was the highlight of the
evening with as much credit due to Richardson and Winters as to Tchaikovsky.
The requirements for the role of Iolanta’s father, King Rene, are cruel and unusual. Rene is the only
character in the opera with dimension, and Tchaikovsky left nothing to be desired in writing the role by
conflating the muscular high notes of a Verdi baritone with the lowest rumblings of a Russian bass. Seth
Marise Carico certainly has the passion and willpower to play Rene, but the role’s extreme vocal demands
were out of his reach. He lacked power and security in the role’s highest notes and managed but a low
grumble in the lowest. Fortunately, his fearless dramatic commitment and handsome middle voice ensured
that any of the short-lived extremes were quickly forgiven and forgotten.
In the brief role of Robert,Vaudemont’s friend and Iolanta’s fiancé since childhood baritone Gustavo
Feulien sang with a combination of roguish swagger and aristocratic eloquence. The color and clarity of his
sound is reminiscent of a young Dmitri Hvorostovsky but with more personality.
Any discussion of a Russian opera without mention of the chorus would be incomplete. Unlike Queen of
Spades or Eugene Onegin, Iolanta is not plagued by long, drama-killing peasant choruses. They are expertly
sung by the of the DiCapo Resident Artist program, many of whom are promising singers in their own right.
The final chorus, split in the middle by a gorgeous octet, was perfectly paired with Iolanta’s revelation in
one of those rare moments when music, visual, and text combine to transport the audience.
And all by relying on something more commendable than an engorged budget.
Photos by James Martindale
HEMSING ASSOCIATES
401 East 80th Street, Suite 14H
New York, NY 10075-0650
Tel.: 212/772-1132 Fax: 212/628-4255
E-mail: [email protected]
NEWSDAY
Long Island, NY
October 19, 2011
Grand opera returns to Tilles with 'Tosca'
By STEVE PARKS
Opera on a grand scale and in the grand tradition
returns to Long Island.
pit myself," Capasso says. (He has continued his dual
career in opera management and the family
contracting business.)
"If we don't do opera, who's going to?" That's the
rhetorical question Elliott Sroka asks, referring to Tilles
Center, which he directs.
"We're known for presenting opera on an intimate
scale," Capasso says, referring to Dicapo's 200-seat
theater.
It's been 2 1/2 years since Tilles presented a fully
staged opera, "Aida," from the traditional European
repertoire.
How will that translate to Tilles' 2,000 seats? "We have
a small theater but a large stage," Capasso says. For
"Tosca," he says, "we devised a turntable staging so
"There was a time when we'd do four or five a year,"
that we're performing in the round without being in the
Sroka recalls. "But there just haven't been many
round. We move with the scenery to cinematically
worthy tours available."
focus each scene."
That is, until Dicapo Opera Theatre, the little company
ENCORE Dicapo returns May 5 to Tilles with Verdi's
that could. Could what? Make its mark in Manhattan,
"La Traviata," and Sroka says he hopes to bring the
home of the behemoth Metropolitan Opera and now-
company back next season. "Some people think
strugging New York City Opera, and beyond.
proximity [to Manhattan] hurts opera on Long Island,"
Saturday night, Dicapo presents "Tosca," Puccini's
tragic tale of love, political intrigue and misperceived
betrayal. It features Kristin Sampson, a soprano
Capasso says. "But as many as will come into the city,
twice as many will come see it on the Island. Opera
was formerly successful here and will be again."
Dicapo has helped develop into an international star, in
The toughest competition, he adds, is the Metropolitan
the title role, and Peter Furlong as her lover. Music
Opera's HD simulcasts. "It's been very good for the
director Pacien Mazzagatti conducts the Dicapo
Met but very bad for touring shows," Capasso says.
orchestra.
"People pay little money for what they perceive as
HOMECOMING In this, its 30th anniversary season,
seeing the Met. But nothing can replace being there."
Dicapo -- named for co-founders Diane Martindale and
This from a kid who fell in love with opera by taking the
Michael Capasso -- comes full circle. "Tosca" was the
train from Great Neck to the Met on Saturdays.
company's first opera in 1981, performed in Great
Neck's Playhouse. But the building was sold and
converted to condos. "We were homeless," recalls
Capasso, who grew up in Great Neck, son of a
contractor. After several vagabond seasons, Dicapo
settled into its Upper East Side space on the lower
level of St. Jean Baptiste Church. "I dug the orchestra
WHAT "Tosca"
WHEN | WHERE Saturday
night at 8 at Tilles Center, C.W. Post Campus of Long
Island University, Brookville
tillescenter.org, 516-299-3100
INFO $37 to $82,
HEMSING ASSOCIATES
THE NEW YORK TIMES
New York, NY
September 28, 2010
401 East 80th Street, Suite 14H
New York, NY 10075-0650
Tel.: 212/772-1132 Fax: 212/628-4255
E-mail: [email protected]
HEMSING ASSOCIATES
401 East 80th Street, Suite 14H
New York, NY 10075-0650
Tel.: 212/772-1132 Fax: 212/628-4255
E-mail: [email protected]
TELEGRAM & GAZETTE
Worcester, MA
April 29, 2009
Bel Canto Opera thrills at Hanover
MUSIC REVIEW
By Dan Sweeney
TELEGRAM & GAZETTE REVIEWER
Having served up two delightful plates of Verismo Opera, Opera Worcester and the National Lyric
Opera took a step back in time for a delectable taste of the Bel Canto era, with a presentation of
Gioacchino Rossini’s “L’Italiana in Algeri,” at the Hanover Theatre for the Performing Arts Monday
night.
Written under time constraints for the Venice Opera in 1813, Rossini turned out a two-plus-hour score
in just 27 days, and it put Rossini on the opera map. In the next 10 years his most memorable scores
would follow.
For this production Artistic Director Michael Capasso brought a dynamic cast to Worcester, and all
seemed normal until Isabella’s entrance in Scene 4, when we realized we were in the late 1950s, as
we see her sunning herself, replete with sunglasses and bikini. I suspect Lindoro’s tossing a rubber
pizza in Scene 3 should have given it away, but it all worked.
Our Lindoro, aptly played by John Bernard, looking like a young Robert De Niro in “The Godfather,”
successfully portrayed a man captured in slavery, yet pining for his Isabella. His “Languir per una
bella” in Act I, once a favorite of tenors in recital, was well-delivered, although he faltered slightly in
his Act II “Verro, mia speme.”
It is not often a reviewer of “L’Italiana” says much about the role of Taddeo, but Chad Armstrong gave
as wonderful and strong a Taddeo as I’ve seen or heard. His acting and singing were first rate, with a
powerful voice that on occasion covered up our Isabella.
Adding to the mayhem were the roles of Haly, Elvira, and Zulma, sung by Brian Ballard, Jennifer Valle,
and Lisa Chavez, respectively. Their acting and singing complemented all, especially Ms. Valle’s
soprano in the septets, but it is the roles of Isabella and Mustafa that drive this opera.
Isabella’s role in this opera buffa stands out because she is the serious one who controls all through
her quicker wit. Her music is melancholic, and could easily be at home in opera seria, however, the
Puerto Rico-born singer Gabriela Garcia chose to play the role as a sultry 1950s “La Dolce Vita.” She
has a wonderful voice, but her mannerisms and body movements were a joy to watch. Not only did
she have The Bay at bay, but I’m sure every male in the audience.
Everything worked in our Todd Robinson’s Mustafa. He is at the center of all this comedy, and one has
to be careful not to overdo it. His facial expressions and mannerisms were born to play this role, as
well as his well-crafted bass baritone singing. The audience was riveted and smiling every time he
entered.
Samuel Bill, and the orchestra, gave a clear rendition of the score, especially in the overture, and
drove the singers in the delightful and quick tutti scene ending Act I.
The moderate audience at the Hanover smiled, laughed, applauded and left grinning, and that is what
this opera has done for 196 years. Not bad for 27 days’ work.