Past Production Reviews
11In “Silent Spring,” Rachel Carson writes, “a truly extraordinary variety of alternatives to chemical control is available … they are biological solutions, based on an understanding of the living organisms that they seek to control … They recognize that we are dealing with having populations, with all their pressures and counterpressures.” A new exhibit at Carnegie Museum of Art takes its name from this passage of the Pittsburgh native’s book, exploring 10 artists’ relationships with global warming and the transitory state of our environment. The word counterpressures “stood out as a perfect description of the push and pull of back and forth between humans and the earth we live on,” says Hannah Turpin, curatorial assistant for modern and contemporary art and photography at the museum. Developed in partnership with Associated Artists of Pittsburgh, the exhibit includes sculpture, photography, painting, sound installation and performance and video. Tara Fay Coleman’s performance and video piece looks at how low-income and black people, in particular, are affected by the ecological crisis. Stephanie Martin, an art teacher in Mercer who is originally from Johnstown, uses recycled materials as part of her sculptures referencing the mountains and rivers of western Pennsylvania. “She grew up with the industrial impact on the land really impacting her perspective of the landscape and what is viewed as natural or beautiful,” Turpin says. Ginger Brooks Takahashi presents a sound installation, a variation of her work from 2018’s Carnegie International, about what causes one to break their silence and speak out against the environmental crisis. Brooks Takahashi, who worked for the past eight years on a farm in Braddock, offers a poetic accounting of her time there as well as news reports and the experiences of others she’s encountered. “Counterpressures” is the 83rd installment in the museum’s Forum series, which began in 1990. Turpin says programming is a major component of the Forum series, especially for this exhibit, which coincides with the 50th anniversary of Earth Day on April 22.
There’s a reason that Pittsburgh Opera draws attention from around the country and the world, and, if you’ve never been, now is the perfect time to discover this cultural gem. This spring, the company heats things up with “Carmen,” an irresistible thrill ride of lust, deception and murder. This riveting, classic opera makes for an unforgettable night out – as well as a great introduction for first-time operagoers. “Carmen” runs March 28 to April 5 at the Benedum Center. English supertitles will be projected above the stage. Tickets start at just $14, with kids and teens admitted half-price.
The cast fared with varying degrees of success. Jennifer Holloway as Donna Elvira was the most impressive of the women, singing with fine line, intensity and ample intelligence. Caitlin Lynch was also a strong presence as Donna Anna, though her vibrato sometimes got in the way. Simpson's Don Giovanni was certainly impressive at times, including the aria “Deh vieni alla finestra,” with its mandolin accompaniment well played onstage by Thomas Godfrey. I'd like to hear Simpson in the role in a different context. Wayne Tigges gave a particularly earthy slant in vocal timbre as well as deportment to Leporello, Don Giovanni's servant. His Catalogue Aria – cataloguing Don Giovanni's amorous conquests by country, ending with “but in Spain, 1,003” – concluded with coarse handling of Donna Elvira, to whom it is sung. Sean Panikkar offered impressive sotto voce singing as Don Ottavio. Sari Gruber was variable as Zerlina, at her best performing with Joseph Barron's solid Masetto.
“Aida” is set in ancient Eqypt and is most famous for the spectacle of the “Triumphal Scene,” in which the Egyptian army returns victorious — with prisoners and spoils of war — after having beaten the Ethiopian army. Latonia Moore commanded the stage as “Aida,” a role she's performed at the Metropolitan Opera in New York City. He voice is lustrous and smooth on top, and has an emotional tinge even at the ends of phrases that taper quietly. Her lowest register was dry at first, but velvety long before the exquisite tomb scene. The soprano's power was thrilling to experience, both in solos and in big scenes. She also acted extremely well. All in all, an unforgettable company debut. Tenor Carl Tanner, also making his debut, was an uncommonly strong Radames, the Egyptian general in love with Aida but desired by Amernis, daughter of Egypt's king. Elizabeth Bishop gave an excellent portrayal of Amneris, one that generated real sympathy for her situation. Her powerful mezzo had the steel for a daughter of the king, and she controlled it with mastery that was nuanced to her changing moods — stong-willed, conflicted, cunning and vulnerable. Oren Gradus sang very well as Ramfis, the high priest, offering strength and dignity. Phillip Gay as the King and Jasmine Muhammad as the High Priestess were both effective. Walker led a wonderfully dramatic performance — well-paced, colorful and beautiful together in ensemble. Delicate moments were all the more magical for being precisely defined. He also let the orchestra and chorus rip at the right moments, which contributed to the sweep of the performance. This made Moore's ability to ride the climaxes all the more impressive. The orchestra was outstanding, apart from one bad chord at the end of the prelude. The string section had remarkable tonal character and cohesion. Wind solos, including piccolo, were keenly drawn. The brass, and especially trumpets, have a big role in this opera, and played magnificently. Timpani and bass drum also stepped up to Walker's scale of sonority for this opera.
The opera that I attended on opening night was astonishing. The orchestra played relaxingly and mellifluously to the ear. The setting to Giuseppe Verdi’s version of “Aida” was located in Egypt. Aida played by Latonia Moore, was a gorgeous Ethiopian servant to Amneris from Egypt and also a princess. The tone of the opening act was quite calm.The costumes used in the Opera fit perfectly to the Egyptian times of warriors, kings, queens and slaves. I remember sitting there as the opera began and seeing 4 guards who at the time, I thought were statues but were not. So the make-up, lighting and poise of the cast were quintessential! Now I don’t know if I was so amazed by the opera singing because of the divine voices or because I never heard opera before, which gave it some perks but the voice of the main characters were astounding. Amonasro played by Lester Lynch, had a very compelling, vigorous tone. Aida played by Latonia Moore had a melodious sweet sound. The opera itself was very dramatic. Between the love triangle and having to imagine choosing between my father and the love of my life how Aida did in this melodrama made it very emotional. I actually found myself getting teary eyed towards the final ‘hours’ of Aida and Radames' life
Austin’s vocal unsteadiness seemed to unnerve the Cio-Cio San, Dina Kuznetsova, who was making her Pittsburgh Opera debut in this production; she had a rough first act with high notes that went wildly askew. However, her total control of the rich middle of her voice never faltered, and her exquisite pianissimos were stunning, carrying effortlessly through the theater. It is hard to imagine a lovelier sound than hers in the brief passage where Butterfly entrusts her son to Pinkerton’s American wife. The carefully conceived, detailed characterization of the young Japanese girl’s plight culminated in a devastating performance of her final aria, ‘Tu? Tu? Piccolo iddio!’ The roles of Suzuki and Sharpless took on greater importance than is the norm, and Laurel Semerdjian and Michael Mayes turned in top-notch performances. Semerdjian’s Suzuki was sensitively acted and very well sung, her lovely mezzo-soprano blending perfectly with Kuznetsova’s voice in the Flower Duet. Mayes made a powerful impact as the US consul who is increasingly dismayed over his fellow American’s callous, self-indulgent indifference to the plight of his fifteen-year-old bride. With Sharpless’ vocal lines exposed, Mayes showed off his tightly focused baritone to its full advantage. The supporting roles were also strongly cast, and the singers went about their business as if nothing was amiss. Julius Ahn’s Goro was all obsequious, self-serving efficiency, vividly acted and sung. Brian Kontes’ bass boomed as he raged at his niece’s abandonment of her traditional gods and conversion to Christianity in her attempt to become a true wife to Pinkerton. Two fine baritones, Ben Taylor and Tyler Zimmerman, both Pittsburgh Opera Resident Artists, sang the roles of Prince Yamadori and the Imperial Commissioner. Another of the company’s young artists, Antonia Botti-Lodovico, accomplished the impossible, turning Kate Pinkerton into an almost sympathetic character by the end of her short time on stage. There were a few ragged entrances from the chorus and coordination problems with the orchestra in the first act. Like the rest of us, conductor Anthony Walker must have been wondering what would come next from Austin’s Pinkerton. Once settled, Walker turned in a carefully sculpted performance, with the Humming Chorus and the orchestral interlude that followed one of the musical highlights of the evening.
Linda Brovsky directed this straightforward but affecting production, with smaller details selling the show. Falling flower petals at key moments and Pinkerton’s son saluting him after the Butterfly’s death were particularly evocative. Conductor Antony Walker kept singers and instrumentalists exactly together while allowing Puccini’s more indulgent lines to breathe. Making her Pittsburgh Opera debut as Cio-Cio-San (the Butterfly) was Russian-American soprano Dina Kuznetsova, who delivered her arias with inspired legato, tapering the ends of each phrase with finely polished lyricism. She plucked each pitch out of thin air, seemingly effortlessly, with a penetrating but soft tone that caressed the ear and carried through to the back of the Benedum. Her counterpart, Cody Austin, brought a bright but undersized tenor to the role of Lt. Pinkerton, his performance strengthening after the first act. Mr. Austin played Pinkerton as a straight but unwitting villain — contrasting coldly with Michael Mayes’ Sharpless (the America consul in Japan), who recognizes the amorality of Pinkerton’s actions but does nothing. Mr. Mayes brought depth but no agency to this incarnation of Sharpless, his rich baritone ringing a touch hollow in the face of Pinkerton’s betrayal. Laurel Semerdjian as Suzuki — Cio-Cio-San’s maid — immediately stood out as one of the strongest voices, a forceful, plush mezzo bringing emotional heft to the production. John Gunter’s set, an open house on the coast of Nagasaki, tilted jauntily to keep each character in view regardless of placement, felt static. The house occupied nearly the full stage, so characters and chorus members seemed crammed to the side. The pacing mostly clipped along but dipped at the end of the second act as Cio-Cio-San prepares and waits for Pinkerton to return. Overall, a strong production of “Butterfly.” This opera is a window into another more troubling time, yet it remains one of the most popular operas in the repertoire. It sells tickets to be sure — the Benedum looked quite full — but the portrayals of Japanese culture are dated. Still, in today’s charged climate, discussing the differences between the time of “Butterfly” and now can make ripe fodder for post-show conversation, whether you’ve seen it once or a hundred times.
The orchestral part is of primary importance, evidenced from the first notes in a splendid rendition of the Prelude, which juxtaposes themes of the children’s prayer and the witch’s music. Act 2 (here played without a break from the opening scene) further showcased the orchestra, with the Witch’s Ride, forest music reminiscent of “Forest Murmurs” from Wagner’s Siegfried, and the great balletic pantomime that closes the act. The singers, all past and present members of Pittsburgh Opera’s resident artist program, were delightfully into their parts, individually and as a theatrical ensemble. Corrie Stallings, a lovely mezzo-soprano whose voice type puts her in line for lots of “trouser roles” (operatic teenaged boys) was totally convincing in gesture and demeanor as an awkward adolescent asserting his masculinity while desperately trying to conceal his fears. Ashley Fabian pranced around appealingly as his more sensible but nonetheless unpredictable sister, while Leah Heater (formerly Leah De Gruyl) and Craig Verm lent an element of pathos to the parents who cannot provide for their offspring. Marianne Cornetti, a Pittsburgh favorite who sings the big Wagner and Verdi parts all over the world, stole the show as the Witch, even though her character doesn’t sing until late in the opera. She has a formidable stage persona with voice to match. She was funny, forbidding and altogether riveting in conveying the evil glee of anticipating baking the youngsters into her dinner. The younger artists, however, struggled to be heard above the orchestra, even as somewhat reduced here, and kept in tight rein by the sensitive conductor. Ms. Fabian sang with clarity and accuracy, but her voice is not large enough for a theater of this size, and many of Gretel’s loveliest lines were lost in the fray. Ms. Stallings came through intermittently better, but the irresistible tunes of the opening scene dance duet, for one example, just didn’t have their intended effect. Ms. Heater and Mr. Verm both have solid, mature voices, but the Mother’s Act 1 solo turn demands more heft than this admirable mezzo could muster, although she conveyed convincingly the conflicting emotions. Mr. Verm brought verve and fervor to the feckless Father, but struggled with the highest notes that the role calls for. With her forceful, pungent soprano, Caitlin Gotimer had no problems being heard in the dual roles of the Sandman and the Dew Fairy – turning the Dew Fairy’s brief solo into an unexpected highlight.
When someone mentions Charlie Parker, it’s jazz music, not opera, that springs to mind. Pittsburgh Opera gave his story new life in its in-person production of “Charlie Parker’s Yardbird” Saturday at the company’s Strip District headquarters. The opera, which is heavily influenced by jazz, delves into weighty issues of racial inequality, substance abuse and the legacy of bebop’s co-creator. Tru Verret-Fleming, is a smooth mover, sliding in and out of scenes wordlessly and always at times when “Bird” feels the urge to use heroin. Lighting designer Todd Nonn flashes the lights a sickly color as Parker, played by Martin Bakari, clutches his arm. The audience doesn’t need any further explanation. Bakari tackles the taxing marathon role of “Bird” without missing a beat. Through the character of Charlie’s mother, Addie (Jasmine Muhammed), and first wife Rebecca (Chrystal E. Williams), the opera explores the tough choices faced by Black mothers. One of the best parts of the whole night was an energetic counterpoint between Muhammed and Bakari as the characters argued over “Bird” staying in Kansas City or moving to New York. The ending is powerful. Maire Therese Carmack as the Baroness de Koenigswarter has a beautifully rich tone, lamenting that “Bird” is gone. The entire cast comes together to mourn his passing, and Bakari provides the right sense of poignant discovery for the opera’s final moments. Despite its relatively brisk 90-minute running time, “Charlie Parker’s Yardbird” is a difficult opera for so many reasons. Musically, the cast is put to the test in unusual, jazzy passages requiring top range. Thematically, it doesn’t shy away from the hot-button issues of Parker’s life that remain relevant today. In this production, the vocalists met the challenge through masks, and characters’ joy, heartache and acceptance feel earned. “Yardbird” has its moments, but in the end, it soars.
Martin Bakari captured the genius, lost soul and lover in Parker. His is a golden, lyric tenor that was shown to its best advantage in an epilogue that begins with the words ‘I know why a caged bird sings’, a line from Paul Laurence Dunbar’s poem ‘Sympathy’. Jasmine Muhammad was a powerhouse as Addie, Parker’s mother. Her voice was solid from top to bottom, as was the pride and dignity with which she carried herself. Equally impressive was Chrystal E. Williams as Rebecca, Parker’s first wife, whom he married when he was fifteen and she three years older. At the end of the opera, Williams was heartbreaking when she sang bitterly that her husband abandoned her and their children for such a place as Birdland, the Manhattan jazz club where he was a headliner. With vibrant sound and presence, Madeline Ehlinger brought to life Doris Parker, a former hat-check girl who used her husband’s memory to fight drug addiction. Véronique Filloux’s Chan Parker, his common-law-wife at the time of his death, was all flounces and feathers, a perfect fit with her sparkling lyric soprano. As Baroness Nica, Maire Therese Carmack’s voice, a stand-up-and-take-notice, dark, commanding mezzo-soprano, made you do just that. Yazid Gray has a beautiful, velvety voice. His Dizzy Gillespie was good natured and easy going, the perfect foil for Bakari’s high-strung Parker. Tru Verret-Fleming moved silently throughout the action as Moose the Mooche, observing and commenting on the action without singing a word. The opera was staged in Pittsburgh Opera’s headquarters, as was its delightful production of Così fan tutte last fall. The set was minimal, and the direction tight and coherent. Challenging acoustics are the name of the game for the foreseeable future. Pittsburgh Opera is producing live opera with an audience, and you can’t find that in many places at moment. That alone made Charlie Parker’s Yardbird a must-see. Its fine cast was the icing on the cake.
