LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives

OPERA-L Archives

OPERA-L Archives


Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font


Join or Leave OPERA-L
Reply | Post New Message
Search Archives

Subject: The Martina Arroyo Foundation Presents Die Fledermaus in Prelude to Performance
From: Judy Pantano <[log in to unmask]>
Reply-To:Judy Pantano <[log in to unmask]>
Date:Thu, 6 Oct 2016 10:59:22 -0400

text/plain (153 lines)

The Martina Arroyo Foundation Presents Die Fledermaus in Prelude to Performance 

A review by Nino Pantano

On the evening of Friday, July 8th at the Sylvia & Danny Kaye Playhouse at Hunter College 
in New York City, the Martina Arroyo Foundation presented Johann Strauss Jr.'s (1825-
1899) opera Die Fledermaus with a libretto by Karl Haffner and Richard Genee. The name 
of the Playhouse honors the actors and talented husband and wife team of Brooklynites 
Sylvia Fine and Danny Kaye and is located at 68th Street between Park and Lexington 

Die Fledermaus premiered in Vienna in 1874 and has been delighting audiences ever 
since. Like Franz Lehar's The Merry Widow, the work is a comfortable fit in the opera 
house because it's arias and ensembles are captivating and vocally adroit as well. The 
young promising singers who are chosen, undergo six weeks of intense study plus a 
stipend and get a chance to perform with full orchestra and chorus in a staged and 
costumed production before a live audience. This year is the 12th season of this 
acclaimed series and includes two performances each of Puccini's tragic La Boheme and 
the delightful Die Fledermaus by Johann Strauss, Jr.

A bit of trivia-Famed tenor Enrico Caruso appeared  in the party scene of Die Fledermaus 
at the Met on February 16, 1905. Famed "diva" Florence Foster Jenkins loved to sing 
Adele's "Laughing Song" in recital and recorded it for posterity. 

The opera is also called The Revenge of the Bat recalling an incident after a masquerade 
party when Dr. Falke placed Eisenstein on a park bench to sleep it off, in a full bat 
costume, holding him up to public ridicule. Dr Blind, Eisenstein's bumbling lawyer got 
Eisenstein an eight day jail term instead of the original five days for an altercation with a 
policeman. Falke invites his friend Eisenstein disguised as Marquis Renard to a lavish 
party thrown by the bored Russian Prince Orlofsky, where Eisenstein's wife Rosalinde, 
disguised as a Hungarian Countess will attend. Adele, their maid, as Fraulein Olga, will 
also be there as an aspiring actress. Frank the prison warden is Chevalier Chagrin and 
will take Eisenstein to the party since Alfred, Rosalinde's suitor, was mistaken for Gabriel 
von Eisenstein and taken to prison. All's well that ends well as this time it is the 
Champagne who is the culprit. 

Alfred, the pompous testosterone pressed tenor was played by gifted tenor Spencer 
Hamlin whose impressive singing of "Drink my darling" plus a snippet of "La donna e 
mobile" from Rigoletto and a thunderous "Vincero" from Turandot dazzled the ear. His 
comedic flair was right on the mark and he did not "overplay" his part as the"Italian" 

The Adele of Shana Grossman was enchanting. Her singing of "The laughing song" ("Look 
at how I look") and "Oh for the life of an actress" in the final act showed a radiant 
coloratura soprano of piquant quality, fine trills and a effortless "upper extension" to her 

The Rosalinde of Haley Sicking was a delight. Her generous and ample soprano and ironic 
touch was well used in the first act trio "Oh goodness me, what calamity, catastrophe" 
and her duet with Alfred "Here we are just you and I." Ms. Sicking was truly compelling in 
"I hunger for my Hungary" in the aria "Echoes of Hungary" in the second act. Her vocal 
pyrotechnics rivaled Grucci's 4th of July fireworks with cadenzas, strong coloratura and a 
held final note that stirred whatever gypsy is in my DNA. A truly bravura performance.

Gabriel von Eisenstein was in the dashing persona of Jonathan Tetelman whose vibrant 
tenor kept peeking through as the sun behind a baritone cloud. His stroll in this tenorial 
terrain was perfectly negotiated and he shined in duet and ensemble."O goodness me, oh 
gracious me what calamity" and his disguising himself as Dr. Blind was adroitly done. He 
has a robust sound, dark hued and baritonal but a free top which dominated in duet. He 
suited the part like an elegant glove that fit perfectly!

Dr. Blind was in the hands of tenor Joseph Sacchi. Despite the comedic wavering and 
posturing of the character one could hear a fine tenor and a singing actor of real quality. 
As Hamlet said, "do not saw the air with your hand too much." Sacchi was not the 
stuttering overwrought frustrated character that is the usually Dr. Blind. In this instance, 
less was more.

Dr. Falke was brought to mischievous life by Thaddaeus Bourne whose rich baritone was 
exciting in the duet with Eisenstein. Bourne's sentimental and beautiful singing with the 
artfully blending chorus of the brotherhood song telling one and all to love and address 
each other using the familiar "du" rather than the formal sie form. The melody 
accelerates and the mood becomes poignant and powerful.

Frank the jail warden, was in the charming hands of Paul Grosvenor who not only is the 
possessor of a warm ingratiating basso but has a sense of the debonair that proved 
exhilarating. His singing of "Jail can be a pleasant place to spend a little time" was 
deliciously droll.

Ida was in the perky persona of Chelsea Bonagura whose sensual mezzo and buoyant 
ballerina lit up the stage.

Prince Orlofsky was sung by Hongni Wu whose mezzo sparkled like the Champagne she 
advocated. Her powerful singing of "Chacun a son gout" with its leaps and jumps showed 
how fearless and flawless her dark mezzo was. Her sparkling singing of "Here's to 
Champagne - the king of all wines" ended the operetta on a brilliant note.

Frosch the jailer was played by Steven Mo Hanan who as guest artist proved himself to be 
a very unusual character. He was a funny drunk-never vulgar and his Harpo Marx, Jack 
Gilford quality made him an eternal innocent even as a skirt chasing imbiber. His 
monologue and dialogue (in English) to the audience was intimate and amusing.

The conductor was Maestro Steven M. Crawford. The overture was a wonderful appetizer 
for the musical feast to follow. Crawford's brisk tempi and understanding of the Viennese 
style assured us of an evening of immense pleasure. The 30 excellent musicians were the 
best. The sets  were evocative of more opulent and fun loving times. The chorus under 
Assistant Conductor Noby Ishida was excellent, especially in the Brotherhood singing in 
the second act. Charles R. Caine's costumes were colorful and evoked the Viennese era 

The final mood this production left one with was twilight. Like the end of an era so what 
can sometimes be played out as broad comedy can also be interpreted as a more subtle 
end of innocence. One left the theater nostalgic for the fun and escapades but 
remembering always the song of brotherhood at party's end.

The performance in three acts was flawlessly sung and spoken in German. Plaudits to 
German Coach Vera Junkers. Gina Lapinski's stage direction was clever and precise, while 
April Joy Vester, Set Designer gave us glitter and sparkle. The English super title operator 
by Lisa Jablow and titles by Brett Findley were most helpful.

Our host for the evening was Stephen De Maio, President of the generous Gerda Lissner 
Foundation along with Karl Michaelis trustee and patron and opera lovers Mario Cesar 
Romero and Eva de la O from Musica De Camara. We also greeted the effervescent 
Rebecca Paller from the Paley Center for Media.

We were happy to meet and greet such movers and shakers as Met baritone Mark Rucker 
who coaches and assists the awardees and his wife Sadie who is in charge of publicity 
and is coach and accompanist to her husband. A page in the program is "In honor of 
Dolarita and Olney K. Rucker and all parents who help young artists realize their 

It is always a joy to greet the great lady herself, the founder of the feast and Earth 
mother to so many, Kennedy Center awardee and legendary Met opera soprano Martina 
Arroyo. We are aware that Martina's parents Demetrio and Lucille were so supportive of 
their talented daughter. Her Dad Demetrio worked as an engineer at the Brooklyn Navy 
Yard to support their family and pay for her musical education. Mme. Arroyo always has 
gentle humor, a ready smile and "high hopes" for talented opera singers in the future. 
Indeed famed tenor Richard Leech told the audience requesting support quoting 
playwright Moliere "Of all the voices extant-opera is the most expensive!"

We left the Sylvia & Danny Kaye Playhouse with memories of the tuneful score and 
visions of the magnificent waltzes of Johann Strauss, Jr. and dancing by choreographer 
Abdul Latif. 

We thank the Martina Arroyo Foundation Prelude to Performance and its splendid young 
singers and staff for giving us a respite from all the worlds problems with the healing 
power of the music, melody and mayhem of Die Fledermaus! Bravo to all!


OPERA-L on Facebook:
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
Modify your settings:

Back to: Top of Message | Previous Page | Main OPERA-L Page



CataList Email List Search Powered by the LISTSERV Email List Manager