Merola Opera Program's Don Giovanni (directed by James Darrah with Martin Katz on the podium) was a dark, sexual, and thoroughly enjoyable experience. The production style was bleak and abstract. The staging was wonderfully varied. A standout exception to that was the end of Act I, where most of the characters were frozen except Don Giovanni and Zerlina, who were grappling in the midst of them. It was jarring next to the vibrant music and emotions and implied action; the still staging crippled the energy at a point where the show needed it most. However, apart from two or three moments like that, where it flat-out contradicted the spirit of the music and libretto, the staging was brilliant, layered, and well-executed. I absolutely adored the allusions to rape culture and how the production addressed the cultural themes and dysfunctional relationships within the opera. The tableau during the closing sextet that illustrated the characters' unhealthy relationship dynamics worked for me. Also, having Elvira physically overpower Leporello at the end made me extremely happy. Edward Nelson brought wonderful intensity to the role of Don Giovanni. His voice was consistent and clear throughout the registers. His recitativi showed off his extensive vocal palette; a few were a tad too quiet and fast for the space, but still kept core sound. His acting was top-notch. His presence was unbelievable. I found myself hating him and rooting for him at the same time. His commitment to the moment, the music, and the acting was memorable and moving. I liked the idea of Don Giovanni being an artist. The five or so sketchbooks made for really engaging staging during the Catalogue Aria. Seeing the nude sketches really illustrated exactly how far Don Giovanni gets with the women he seduces. It gave Karen Chia-ling Ho (Donna Elvira) some really visceral and immediate images to react to. Although it might have been good for Szymon Wach, who was a fabulously endearing Leporello, to have had more practice time with the sketchbooks, his occasional difficulties provided some emotionally truthful moments and unexpected humor. All of the ladies brought real depth and beauty to their roles, in addition to showcasing their phenomenal instruments. Amanda Woodbury was an incredible Donna Anna. Her strong, clear voice embodied Donna Anna's inner strength, while the sadness she drew from herself really tinted her character a heartbreaking hue. Yujin Kim was an energetic, adorable Zerlina. Karen Chia-ling Ho was my favorite. She was just so moving. Her excellent acting and vocal ability came together to really bring Donna Elvira to emotionally poignant life. Rhys Lloyd Talbot (Masetto) was really engaging, even as such a buffoonish character. Making him nearsighted was brilliant; it made the mistaken identity moment (which coincidentally had some strangely homoerotic staging for a hot minute right before Giovanni starts beating Masetto) much more believable. This was a phenomenal, innovative, engaging, and brilliantly-performed production. Bravi tutti. http://merolaopera.com/merolaartists http://merola.org/
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I just made friends with a woman so vivacious I want to cry (in a good way). She is so open and effusive. She seems to spew sunlight and energy. Let's rechristen her Verve for now. Verve is a year older than me; is medium height; thin build; and has hair that was probably originally light brown but is currently a bright red that matches and broadcasts her personality.
What happened: I was crossing the street to the train station and I see a beautifully dressed woman out of the corner of my eye. I turn to look at her and she makes eye contact with me, grins hugely and sincerely, and says, "Hi!!!" I grin back, then we keep walking. She also ends up on the train platform, standing next to me. I look at her again and she smiles and giggles and I giggle and say, "sorry, but I really like your outfit!" She beams and says, "it's fine, that's a great complement to start the day!" (p.s. I'm probably totally paraphrasing all of the things. I remember the meaning of everything we said to each other perfectly; I'm just fuzzy on the details, since it's morning and I was more interested in enjoying the conversation than remembering it.) Then we started talking. She told me a good chunk of her residential history before we got on the train. I found out where she was born, how long she lived outside of California, and part of her father's employment history. I found out she went to Catholic school. Then we got on the train. We sat next to each other and continued talking. Eventually I found out she's an actress. Which totally explains her openness, energy, and presence. Also the fact that we clicked. I don't think it was her outfit that drew my attention; it was her radiance. Anywho, I wanted to tell you about this exciting person. I wanted to tell you about her liveliness. I wanted to tell you about her curiosity and energy. I wanted to tell you that she was so bright she filled me with light and warmth and love for the world. I wanted to tell you that she made my day. At 7 o'clock in the morning. And Verve, if you're reading this, I'm very glad I met you. Even if I never see you again, you made my life happier and brighter. I hide my feelings, just like everyone else. I also hide them from myself, again like many people. Unlike most people, I am uncomfortable hiding them from myself. I need them for my work. Hiding the negatives also prevents me from accessing the positives. So although I wish I could comfortably ignore my negative feelings, I actively unearth them.
I found two of my hiding spots.
Now I can work on releasing those muscles and emotions, thereby freeing my singing (technically and emotionally) and my acting. I bet I hide my anger in my trapezius, so that will be my next investigation. Olly olly oxen free! Me: **sings "Svegliatevi nel core" from Händel's Giulio Cesare**
Sister: What was with your character, why's he so angsty? Me: Well, his dad's been murdered-- Sister: So he's Hamlet. Me: --and he has to avenge him-- Sister: So he's Hamlet. Me: Haha, well not exactly... Sister: He's Hamlet. I love my sister. When you spend months working closely with people on an artistic endeavor, you and your colleagues build a special bond. This bond is not necessarily based on sitting down and having soul-baring, deep conversations. It is a relationship that slowly unfolds while you expose yourself through your work. That is how you get to know each other. Then you bond through ribald jokes over beers. This bond grows while you geek out over nuances in your art form, while you watch each other rehearse, one watcher stroking another’s hair absentmindedly. It is very comfortable, it is open, it is vulnerable, it is inappropriate, it is highly entertaining. You can grab this person’s breast or ass and it isn’t weird. You sometimes speak to each other in strange, gibberish noises. You have inside jokes. Personal space is irrelevant. What you have with these people is a wonderful and different breed of love.
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AuthorMaayan is a Manhattan-based opera singer. Archives
January 2019
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