The Well-Tempered Ear

Classical music: University Opera’s production of Mozart’s “Cosi fan tutte” is a musical treat despite its outdated story. Performances remain this afternoon and Tuesday night

March 1, 2020
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By Jacob Stockinger

Larry Wells – the very experienced Opera Guy for this blog – took in the University Opera’s production of Mozart’s “Cosi fan tutte” Friday night at Music Hall on Bascom Hill and filed this review. (Performance photos are by Michael R. Anderson.)

By Larry Wells

I attended the opening night of University Opera’s production of Mozart’s “Cosi Fan Tutte” (So Do They All or Such Are Women).

Considered a musical masterpiece, the opera features a cast of six singers who participate in a comedy about love and fidelity. (Below, from left, are Cayla Rosché as Fiordiligi, Benjamin Hopkins as Ferrando, James Harrington as Don Alfonso, Kelsey Wang as Despina, Kevin Green as Guglielmo and Chloe Agostino as Dorabella.)

In director David Ronis’ attempt to make the story more timely, the action took place in a vaguely early 20th-century setting – the Roaring Twenties, to be precise — suggested by the women’s costumes and the art deco set.

Two of the men, who are called off to war, brandished swords, which I believe were not widely used in World War I. (Below, from left, are Benjamin Hopkins as Ferrando, James Harrington as Don Alfonso and Kevin Green as Guglielmo in the opening scene from Act I.)

In any event, an attempt to make an historic artifact with its incumbent unenlightened views of women relevant to the 21st century may be fruitless, and I believe that audiences today recognize the archaic attitudes expressed therein as comic and dated.

That sexist manipulation needs to be discussed today, as suggested in the director’s notes, and that women’s “agency” — to quote an overused academic term — remains an issue today is the tragedy. This comedy goes only a small distance in helping us realize that some things have not changed, even though many have.

But on to the performance.

The three female characters (below) included the vocally stunning Cayla Rosché as Fiordiligi. Her “Come scoglio” was a showstopper. (Below, from left, are Chloe Agostino as Dorabella and Cayla Rosché as Fiordiligi in their Act I duet.)

Chloe Agostino’s sweet soprano perfectly reflected her Dorabella, and Anja Pustaver’s comic turn as Despina revealed an interesting voice that reminded me of Reri Grist’s Oscar in the Erich Leinsdorf recording of Verdi’s “Un Ballo in Maschera” – which is a compliment, albeit possibly obscure.

Kevin Green as Guglielmo grew on me as the evening progressed and as he became more confident. But the standout was James Harrington as Don Alfonso. I feel that he is a major talent in our midst. (Below in the foreground are Cayla Rosché as Fiordiligi and Benjamin Hopkins as Ferrando; in the background are James Harrington as Don Alfonso and Kevin Green as Guglielmo.)

Green and his partner, Benjamin Hopkins’ Ferrando, had to don disguises in order to tempt each other’s intended. In the libretto they disguise themselves as Albanians.

In what I can only hope was a nod to political correctness in order to spare the feelings of our Albanian brothers, they disguised themselves in this production as lumberjacks clad in flannel shirts and denim jeans — which was incongruously absurd but amusing at the same time. (Below,Kelsey Wang, left, as Despina examines Benjamin Hopkins as the Albanian Ferrando in a fake medical examination during the finale of Act I.)

The vocalists shone most in their many ensembles – duets, trios, quartets and sextets. The blendings of the various voices were always harmonious. The trio “Soave sia il vento” (Gentle Be the Breeze) — featuring Rosché, Agostino and Harrington (below) — was sublime and worth the price of admission on its own. (Below, from left, are Chloe Agostino as Dorabella, James Harrington as Don Alfonso and Cayla Rosché  as Fiordiligi in the famous Act I trio “Soave sia il vento,” which you can hear in the YouTube video at the bottom.)

The UW Symphony Orchestra was ably and nobly led by new conductor Oriol Sans (below) whose hiring proved to be a major coup for the university. Everything I’ve heard him conduct so far has been excellent, and this performance was no exception.

The harpsichord continuo by Thomas Kasdorf (below) was captivating in its nuance and effortlessness – very impressive.

I enjoyed the abstract unit set designed by Joseph Varga and complemented by the effective lighting designed by Zak Stowe.

In all, it was an evening primarily in which to close one’s eyes and listen.

Repeat performances, with alternating cast members, take place this afternoon – Sunday, March 1 – at 2 p.m. and again on Tuesday night, March 3, at 7:30 p.m. Running time is about 3 hours with one intermission. The opera is sung in Italian with English surtitles.

Tickets are $25, $20 for seniors and $10 for students. For more information about the opera, the cast and the production, go to: https://www.music.wisc.edu/2020/02/10/cosi-fan-tutte/

 


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Classical music: The Madison Opera’s superb and sensual production of “Fellow Travelers” broke both hearts and new ground

February 14, 2020
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By Jacob Stockinger

Walking out into the heavy snow last Sunday afternoon, The Ear left the Madison Opera’s production of “Fellow Travelers” – done in the Capitol Theater of the Overture Center – feeling sad and moved, but also satisfied and proud. (Below is the full cast in a party scene. All performance photos are by James Gill.)

He was proud that the Madison Opera chose this 2016 work by composer Gregory Spears and librettist Greg Pierce — based on the 2007 novel of the same name by Thomas Mallon — for its annual winter staging of a modern or contemporary opera.

It was a brave choice.

For one, it focuses on a same-sex love affair in the oppressive political environment of the McCarthy era with its Lavender Scare, which, during the larger Red Scare, tied gays to communists and tried to purge and ruin them lest they be blackmailed.

In addition, the opera speaks to today’s politics of smear and fear, as practiced by President Donald Trump and conspiracy theory proponents on the far right. The Madison Opera wasn’t afraid to point out possible parallels in the program notes.

But the real affirmation of the opera’s contemporaneity came from the first-rate quality of this memorable production.

The cast of nine made a tight ensemble in which each member proved  equally strong in singing and acting.

The two leading men who played federal government workers – tenor Andres Acosta (below right) as the young Timothy Laughlin and baritone Ben Edquist (below left) as the older Hawkins Fuller – turned in outstanding performances from their first meeting on a park bench, through their sexual encounters, to the final breakup.

Particularly moving were the same-sex love scenes and moments of casual affection. Perhaps there are precedents in the history of other Madison Opera productions, but no one seems to know of any.

The two men in bed — wearing only boxer shorts while kissing and caressing each other — seemed like another brave first for the Madison Opera. The explicit scenes of the two men being intimate were tasteful but also sensual and realistic, erotic as well as poignant. (Below are Andres Acosta, left, as Timothy Laughlin and Ben Edquist, right, as Hawkins Fuller.)

Acting seems the real fulcrum of this chamber opera, with the appealing music underscoring the scenes and the acting rather than standing on its own. Yet the two men proved to be powerful singers, especially in their solos and duets. (You can hear Andres Acosta sing an aria in the Minneapolis production in the YouTube video at the bottom.)

The haunting music was always accessible and atmospheric, disproving the notion that music in new operas is always discordant or hard to listen to. True, The Ear heard no tunes to take away from the opera, no earworm arias from a first hearing. But the singing by all the cast members was uniformly strong.

John DeMain’s conducting exuded both control and subtlety. He maintained a balance from the Madison Symphony Orchestra players in the pit and never overwhelmed the singers.

DeMain (below, in a photo by Prasad) knew exactly when to pull the music into the background and create a context for the action; and then when to push it to the foreground to accompany the singers or set a scene.

Stage director Peter Rothstein (below), who also staged the opera for the Minnesota Opera in Minneapolis with some of the same cast, kept the show moving at a brisk and engaging pace.

The 16 scenes moved quickly throughout the two-hour show, thanks in part to the austere and portable but convincing sets.

The atmosphere of the 1950s, for example, was believably evoked by a simple office setting — a desk, a few filing cabinets, an American flag and a portrait of President Eisenhower. (Below, from left, are Ben Edquist as Hawkins Fuller, Andres Acosta as Timothy Laughlin, and Adriana Zabala as Mary Johnson.)

Particularly effective and disturbing was the interrogation scene, from the embarrassing questions about whether Hawkins Fuller walks or talks like a homosexual to the lie detector test. (Below, from left, are Andres Acosta as Timothy Laughlin, Ben Edquist as Hawkins Fuller, Stephen Hobe as the Technician and Alan Dunbar as the Interrogator.)

One outstanding performance involved the resonant and expressive Sidney Outlaw (below) as Tommy McIntyre, the bureaucrat who knows all the secrets in the office of Senator Charles Parker (played by Andrew Wilkowske) and how to use them in order to get his way. (Below, from left, are Andres Acosta as Timothy Laughlin and Sidney Outlaw as Tommy McIntyre.)

Another outstanding performance came from Adriana Zabala (below) as Mary Johnson, the secretary who finally quits her job and leaves Washington, D.C., to protest the treatment of Timothy by the aptly nicknamed “Hawk” Fuller and the government inquisitors. (Below, from left, are Ben Edquist as Hawkins Fuller and Adriana Zabala as Mary Johnson.

Throughout the entire opera, the audience proved amazingly quiet, rapt in their attention as they laughed out loud at humorous moments and openly cried at the heart-wrenching plot.

At the end the audience — gay and straight, men and women, old and young – gave the singers and orchestra players a prolonged standing ovation and loud applause.

And walking out, you heard many people talking about the opera in the most positive and approving ways.

The underlying irony, of course, is that an opera with this much insight into both the human heart and the exploitative politics of oppression could never have been staged in the same era it depicts.

At least on that score, we can say we have made some progress in confronting and correcting the injustices and bigotry we witness in “Fellow Travelers.”

But in the end the opera tells us to keep traveling.

You can see what other critics thought of “Fellow Travelers”:

Here is the review that Jay Rath wrote for Isthmus: https://isthmus.com/arts/stage/forbidden%20love/

And here is the review that Lindsay Christians wrote for The Capital Times: https://madison.com/ct/entertainment/arts_and_theatre/theatre/opera-review-fellow-travelers-is-a-certain-kind-of-wonderful/article_0ebc5a83-afbe-5f50-99eb-51e4baa4df0e.html

What did you think?

Leave your own review or reactions in the Comments section.

The Ear wants to hear.

 


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Classical music: “Into the Woods” proved a complete, first-rate theatrical experience

February 26, 2019
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By Jacob Stockinger

Larry Wells – the very experienced Opera Guy for The Well-Tempered Ear blog  – attended two performances of “Into the Woods” at the Wisconsin Union Theater, and filed this review. (Photos are by Beau Meyer for the UW-Madison Department of Theatre and Drama.)

By Larry Wells

The University Theatre and University Opera’s recent joint production of “Into the Woods” was a feast for fans of Stephen Sondheim (below). It was a complete theatrical experience with excellent singing, a nuanced orchestral accompaniment, skilled acting and enchanting staging.

The nearly three-hour work is an amalgamation of several well-known fairy tales exploring themes such as parent-child relationships, loss of innocence, self-discovery, the consequences of wishes being fulfilled, and death – but all in an amusing, literate, fast-paced kaleidoscope of witty dialogue, catchy music and sophisticated lyrics.

The production employed an attractive, ever-changing set, designed by John Drescher, that was vaguely reminiscent of Maurice Sendak.

Stage director David Ronis (below, in a photo by Luke DeLalio) utilized the large cast and what had to be an equally large number of backstage crew members in a captivating succession of ensemble pieces and solo numbers. I was never aware of the passing of time. Not looking at my watch is my acid test of a production’s success.

Among the many standout performances, Bryanna Plaisir (below) as the Witch was comical in her delivery and quite amazing in the physicality of her performance. There were a number of times when she flew, and each time I was taken by surprise at her effortlessness. Her initial song, accompanied mostly by percussion, was mesmerizing.

There were two roles that were double cast: Elisheva Pront and Miranda Kettlewell (below) as the Cinderellas; and Meghan Stecker and Zoe Bockhorst as the two Little Red Riding Hoods.

Both Pront and Kettlewell possess excellent voices.

Stecker was the more girlish of the two Red Riding Hoods, whereas Bockhorst (below left) portrayed a slightly more canny character.  Both were very funny in their encounter with Cobi Tappa’s Wolf (below right).

Tappa is a physical actor whose tall lankiness conveyed the Wolf’s lupine nature flawlessly. He also portrayed the Steward, and I was completely captivated by his performance, as was the appreciative audience.

Joshua Kelly (below) was the narrator and also played the baker’s father.  His was a professional quality performance from beginning to end – enunciating so clearly that he was completely understandable throughout.

Jack was played by Christian Michael Brenny. His portrayal of a simple-minded boy was touching, and his singing was outstanding.

Emily Vandenberg (below left) as the wife of the baker (played by Michael Kelley, below right) was another outstanding performer – an excellent comic actress and an accomplished vocalist.

Mention must also be made of Rapunzel and Cinderella’s princes, Tanner Zocher  and Jacob Eliot Elfner. Their two duets, “Agony” and “Agony Reprise,” were enthusiastically received by the audience not only for their delivery but also for such lyrics as “…you know nothing of madness ‘til you’re climbing her hair…”.

Sondheim’s way with words continues to amaze me. In describing a decrepit cow, Jack’s mother gets to sing “…while her withers wither with her…”.  The Wolf gets to sing the line “…there’s no possible way to describe what you feel when you’re talking to your meal…”

Chad Hutchinson (below) conducted the orchestra in a finely shaded performance – never overpowering and always supportive.

There were many other excellent performances and memorable moments. Suffice it to say that altogether cast, crew, artistic and production staff created a show that I enjoyed on two consecutive evenings. In fact I was completely entranced both times.

Postscript: The first evening I sat in front of a person who coughed more or less continually the entire first act.  Mercifully she left at the intermission. Next to me was a woman who alternated between audibly clearing her throat and blowing her nose — when she wasn’t applying moisturizer to her hands — throughout the entire show. Stay home if you’re sick. And remember that you are not at home watching your television.  You are in a theater.


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Classical music: Madison Opera’s “A Little Night Music” proved totally satisfying as both music and theater

February 13, 2019
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By Jacob Stockinger

Larry Wells – The Opera Guy for The Well-Tempered Ear – went to both performances in the Capitol Theater of the Overture Center last weekend by the Madison Opera of Stephen Sondheim’s “A Little Night Music” and filed the following review. Photos are by James Gill.

By Larry Wells

Although I was familiar with the recording, my first experience seeing “A Little Night Music” by Stephen Sondheim (below) was in London 25 years ago. I remember it as a theatrical experience – it featured Judi Dench and was performed at the National Theatre – more than as a musical event.

Two years ago, I saw it performed by Des Moines Metro Opera, and although it was “operatic” it was also sabotaged by a confusing, even chaotic, production designed by Isaac Mizrahi.

I finally experienced the complete package with the recent performances by the Madison Opera. It was a totally satisfying combination of acting, music and theatrical design.

Inspired by Ingmar Bergman’s film “Smiles of a Summer Night,” which in turn was inspired by Shakespeare’s “A Midsummer Night’s Dream,” “A Little Night Music” concerns itself with mismatched lovers who are eventually properly paired or else reconciled.

Without going into detail, suffice it to say that the carryings-on are amusing, the dialogue is witty, and the lyrics are sophisticated.

One of the earliest numbers in the show — the trio of songs “Later,” “Now” and “Soon” — set the tone for the evening musically. Each was performed individually by three fine singers – Quinn Bernegger, Jeni Houser (below left) and Daniel Belcher (below right).

In a musical tour-de-force, the three songs ultimately combined into one. Houser’s clear tone, Benegger’s intense passion, and Belcher’s suave lyricism promised an outstanding musical experience to come. Special praise must go to Bernegger (below) who sang while comically, but skillfully, miming playing a cello.

One show-stopper was Sarah Day’s “Liaisons” which was really perfect in its world-weariness. Day (below) — from American Players Theatre in Spring Green — half-declaimed and half-sang such memorable lines of regret as, “What once was a sumptuous feast is now figs. No, not even figs. Raisins.” Or amusing internal rhymes like “…indiscriminate women it…”.  (I am completely taken by Sondheim’s clever use of language.)

Likewise, the singing of “Miller’s Son” by Emily Glick (below) was a good old Broadway rendition – no operatic pretense – and the audience, and I, loved it.

Charles Eaton (below left) as a puffed-up dragoon and Katherine Pracht (below right) as his long-suffering wife were both outstanding vocally and deftly comic.

The center of most of the activity was the character Desirée Armfeldt portrayed by Emily Pulley (below). At first I thought she was overacting, but then I realized that, of course, she was portraying a veteran stage actress – a matinee idol type – who had internalized theatrical gestures into her own character. Her “Send in the Clowns” stopped the show, and the lyrics finally made sense to me. (You can hear the familiar Judy Collins interpretation in the YouTube video at the bottom.)

But I would have to say that the star of the show was the chorus, a quintet of excellent voices – Stephen Hobe, Kirsten Larson, Benjamin Liupaogo, Emily Secor and Cassandra Vasta. They waltzed through the action while sliding the panels and frames that comprised the set, moving props, and commenting on the action.

Never obtrusive but always necessary, I thought they were a delight. The three women got to sing a brief round “Perpetual Anticipation” that is another wonder of Sondheim’s musical imagination.

As mentioned, sliding panels, along with dropping frames and panels, comprised the set. The continuous changing of the panels, the blocking and the movements of the quintet were the creative product of stage director Doug Schulz-Carlson (below). There was often a whirlwind of activity, but I was never distracted.

The costumes by Karen Brown-Larimore seemed straight out of Edward Gorey – which is a good thing.  And altogether I felt it was the best production of the musical I’ve seen.

The orchestra was situated on stage behind the set, which made additional seats available close to the stage. People seated in those rows had to bend their necks to read the supertitles, but the diction was so consistently excellent that I rarely needed to even glance at the supertitles.

Praise is due for members of the Madison Symphony Orchestra, and particularly conductor John DeMain (below, in a photo by Prasad). I heard subtleties in the music that had heretofore eluded me, and that is always a reward for attending a live performance and is a tribute to the maestro.

I was happy to see a younger audience, particularly Friday night. Let us hope that they were enchanted enough to attend the upcoming production on April 26 and 28 of Antonin Dvorak’s “Rusalka.”

This is an opera I have never seen; and until recently, I was familiar only with one of its arias, the so-called “Song to the Moon.”

But now that I have a recording, I realize that it is a musical treasure that should not be missed. I suppose the reasons it is not so frequently performed are that it is in Czech and its plot involves water sprites. But don’t let that stop you. The music is wonderful.


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Classical music: We should hear more operas sung in English translation – like Wisconsin Public Radio’s live broadcast TODAY at noon of the Metropolitan Opera’s shortened version of Mozart’s “The Magic Flute”

December 29, 2018
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By Jacob Stockinger

The Ear thinks that we in English-speaking countries should hear more operas sung in our native language.

Yes, sung in English – not the original Italian, French or German.

You can see how you’d like it for yourself if you listen at noon TODAY– Saturday, Dec. 29 — to Wisconsin Public Radio. That’s when you can hear the Metropolitan Opera’s live broadcast of its family-friendly production of Mozart’s “The Magic Flute.”

The Ear did so and – except for deleting the wonderful overture — loved it.

So, apparently, did a lot others. (You can hear Nathan Gunn in a sample in the YouTube video at the bottom.)

After many years, the production has now become a holiday tradition for the Met to offer children while school is out for the holidays.

And one suspects it is developing new audiences – especially with the colorful staging and costumes by Julie Taymor, who won such acclaim for her staging of “The Lion King” on both the stage and film.

Sure, a lot of purists will probably object to substituting English for the original Italian, French, German and Russian. But it is so freeing and feels so good to understand what you are hearing without the distraction of constantly going back and forth trying to look at both the supertitles and the stage.

It also seems worth a try, given the problems that many opera companies are having competing with the “Live from the Met in HD” productions that you can see in movie theaters for far less money, and the decline of both season subscribers and single tickets.

To be honest, of course even in English you will miss some of the words. That’s the nature of singing. But excellent diction helps. And if you are lucky enough to see the production in person, supertitles in Italian, French German and Spanish and, yes, English are still provided.

It is not a completely new idea. After all, Great Britain has the English National Opera, which performs standard operas by Verdi and Puccini, Monteverdi and Handel, Mozart and Wagner, in English. So, many of the very great operas have already been translated into English and could be staged in English elsewhere.

Here are links where you can learn more about the English National Opera:

https://www.eno.org

https://en.wikipedia.org/wiki/English_National_Opera

Do you question how the text is hurt in translation?

It’s worth remembering that Mozart himself used the vernacular German instead of his usual opera house Italian so that he would reach the general public. Why not do the same today? Translation could make opera much more accessible, less pretentious and more populist.

The same is true for cutting the show down to 100 minutes from almost 3 hours. Let’s just admit that the attention span of the general public is much shorter than it used to be.

Orchestra and chamber music concerts as well as solo recitals are trimming their running times often down to 90 minutes or less, and meet with great approval from the public. Why not try the same approach with opera? Indeed, both the Madison Opera and the University Opera have limited but successful experiences with editing operas and using English.

It is also worth recalling that in translation we read greater words than an opera libretto. If we can translate Homer and Shakespeare, Dostoevsky and Proust, why can’t we translate opera librettos? One just has to be sure to find a great translator with a sensitive musical ear– such as American poet Richard Wilbur is with his award-winning, rhyming translations of Moliere’s comedies and Racine’s tragedies. Similarly, American poet J.D. McClatchy has done a fine job with The Met’s “Magic Flute.”

Here is a link to more information about the production, including a synopsis:

https://www.metopera.org/season/2018-19-season/the-magic-flute/

And here is a review of the Met’s  “Magic Flute” by Tommasini:

https://www.nytimes.com/2018/12/20/arts/music/review-mozart-magic-flute-met-opera.html

What do you think?

Should more operas be staged in English?

Should long operas be edited?

Why or why not?

The Ear wants to hear.


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Classical music: Live radio broadcasts of opera from The Met start today at noon on Wisconsin Public Radio. And superstar Plácido Domingo marks his 50th year at the Met.

December 1, 2018
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By Jacob Stockinger

Today at noon, the Metropolitan Opera starts its 88th season of Live Broadcasts From the Met.

Locally, the performance today, like all of them, airs on Wisconsin Public Radio. The new season, which starts with Arrigo Boito’s “Mefistofole,” continues through May 11.

Here is a list to the title of the entire season: https://www.wpr.org/metropolitan-opera-begins-its-88th-season

It also seems like a perfect time to mark a milestone at the Met: The 50th anniversary of the Met debut of superstar tenor Plácido Domingo (below) who is still singing, now as a baritone, at the age of 77.

Here is a link to his impressive biography on Wikipedia: https://en.wikipedia.org/wiki/Plácido_Domingo

Here is a link to an account, appreciation and review of the event last week, celebrated with Domingo’s appearance in Puccini’s “Gianni Schicchi” below center, in a photo by Sara Krulwich for the New York Times) in The New York Times:

https://www.nytimes.com/2018/11/25/arts/music/review-placido-domingo-met-opera-trittico-puccini.html

Here is The Met’s general manager Peter Gelb (left) giving a piece of the Met’s stage to Domingo to mark his golden anniversary:

Finally, here is a YouTube video of the Met’s celebration of Domingo:


Classical music: University Opera’s “Poppea” proves engaging, satisfying and timely. Performances remain this afternoon at 2 and Tuesday night at 7:30 

November 18, 2018
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By Jacob Stockinger

Larry Wells – who is The Opera Guy for The Well-Tempered Ear blog – went to the recent production of the University Opera and filed this review, with rehearsal photos of students, who alternate roles in different performances, by Michael R. Anderson.

By Larry Wells

The only other time I attended a performance of Claudio Monteverdi’s “The Coronation of Poppea” (1643) was in the early 1980s at The San Francisco Opera. Despite the appearance of Tatiana Troyanos as Poppea, I remember being baffled by both the static nature of the music and the grandness of the production of what seemed should be an intimate opera.

That memory, in addition to my being a fan of 20th-century music, made attending the opening performance of University Opera’s performance Friday evening fraught with foreboding.

Despite the production being a lengthy three hours, I must praise the ensemble and director David Ronis — who never disappoints — for keeping my attention throughout the evening as I witnessed an intimate retelling of the passion between Nero and Poppea (portrayed below by Benjamin Hopkins and Anja Pustaver).

The opera was staged in Music Hall on a semicircular platform with the small instrumental ensemble directly to the front side of the audience. Stunning lighting and beautiful costumes made up for the minimal set. I was seated in the center of the first row of the balcony and must say that the sightlines and the sound were superb, even though it was very hot up there. (Below is the coronation scene with Hopkins and Pustaver in the center.)

The ensemble was conducted by Chad Hutchinson (below) whom I had heard conduct the UW Symphony Orchestra the night before in a rousing Tchaikovsky’s Fifth Symphony. The plucked instruments – harp, guitars, theorbo (I had to look it up, too) and harpsichords – were the backbone of the accompaniment. Strings and recorders completed the orchestra, and they were a delight to the ear – totally delicate and restrained.

The plot of the opera involves love triangles and political intrigue. The supertitles created by David Ronis (below, in a photo by Luke Dalalio) were amusing and colloquial. So much of the political posturing by Nero, whose main motivation is consistently self-interest, seemed to be pertinent to our time.

Nero was sung by countertenor Thomas Aláan who has a voice of great agility and expressiveness. His lover, Poppea, who yearns to be his empress, was sung by Talia Engstrom. Hers is a voice of great suppleness and flexibility. Throughout the evening she acted and sang with great subtlety, and I admired her performance very much.

I had been primed for the opera’s very final duet (heard in the YouTube video at the bottom) to be the most sublime moment of the opera, but I was much more aroused by the farewell duet between Nero and Poppea toward the end of the first act. It was highly charged vocally and erotic in its beauty and delivery.

Other characters included Seneca, portrayed by bass Benjamin Galvin (below left front, surrounded, from left to right, by Eliav Goldman, Jack Innes, Jiabao Zhang, Jake Elfner and Noah Bossert.) The lower range of his voice is profound and impressive.

Kevin Green (below right with Pustaver) portrayed the hapless Ottone, and his baritone voice shows promise.

It was, however, a night for the female singers. Cayla Rosché’s Ottavia was beautifully sung. She was completely believable as the spurned wife of Nero. Likewise Kelsey Wang’s Drusilla, Ottone’s second choice, was also wonderfully sung.

In the first scene we were introduced to Fortuna, Virtù and Amore who shone vocally. Throughout the remainder of the opera they silently hovered in the background as visual reminders of the forces driving the plots. Love, portrayed by Emily Vandenberg, eventually triumphed and got to sing a bit more.

There were moments of humor sprinkled throughout the production. I do not know how historically informed they were, but they did help to lighten the heaviness of the political intrigue and amorous complexities.

Some were perhaps unintentional – particularly the absurdly amusing wig that Fortuna wore. But Professor Mimmi Fulmer, in the small role as Nutrice, had a moment of complete hilarity. Her performance – both vocally and as an actress – underlined the contrast between earnestly serious, focused students and a relaxed, confident professional. (Below is the final scene with Nero and Poppea).

Altogether, it was a surprisingly engaging evening. There remain chances to see it this afternoon and Tuesday evening. It is not a brief or light evening of entertainment, but it is wholly engaging, thought provoking, timely and certainly something out of the ordinary.

Two more performances take place in Music Hall: today at 2 p.m. and Tuesday night at 7:30 p.m. For more information including how to get tickets – adults are $25, seniors are $20 and students are $10 — go to: https://www.music.wisc.edu/event/university-opera-monteverdis-the-coronation-of-poppea/


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