PRESS Brooklyn’s Regina Opera at 40, Presents Mozart’s Don Giovanni By Nino Pantano BENSONHURST — Don Giovanni was first performed in 1787. The composer, W. A. Mozart, in collaboration with librettist L. Da Ponte (1749-1838), created this masterpiece that was never more potent than the performance we attended at Brooklyn’s Regina Hall on Nov. 29. In the role of the licentious nobleman, bass-baritone Bryce Smith captivated us with his seductive good looks and caressing tone. Is it any wonder that Masetto’s bride fell for Giovanni in their duet “La ci darem la mano,” or that his “champagne aria” “Finch’ han dal vino” was sung with such brio and élan? Who could resist his “Deh vieni alla finestra?” Smith also showed us the dark side of this irresistible roué by living well and dying with defiance at the hands of the statue of the Commendatore, who literally drags the unrepentant Don to hell. This was a performance to treasure. John Schenkel used his pleasing, expressive baritone and comedic flair to give us a memorable portrayal of Don Giovanni’s servant Leporello. Schenkel’s singing of the famed “Catalogue” aria in which he lists all of his master’s “conquests” gathered him much applause. In the arduous role of Donna Anna, Maryann Mootos used her sumptuous soaring soprano to portray a variety of tragic events. Mootos’s impassioned and glorious singing “Crudele? Ah no, mio bene!” and the following “Fors’è un giorno” showed a voice and persona worthy of the world’s great opera houses. Whether in duet, trio or ensemble, Mootos’s artistry and vocal skills prevailed. Don Ottavio, Donna Anna’s beloved, is often portrayed as a “wimp,” and audiences usually prefer the cunning and conniving Don Giovanni, who at least has backbone and charisma. Tenor Ubaldo Feliciano-Hernandez showed real fire in his defiance of the Don and sang with ringing conviction. His “Dalla sua pace” had both depth and sweetness, and his “Il mio tesoro” had remarkable breath control. His was a strong performance, and his character’s outrage at the devious Don was obvious. The jilted Donna Elvira sometimes comes across as a pest by virtue of her stalking the Don and showing up in time to spoil his plans. Camille Gifford, as this rejected and dumped character used her glowing and radiant soprano. The haunting “Mi Tradi” held no fears for her and she sang with ringing tone and much élan. Gifford’s interpretive gifts made Donna Elvira a more sympathetic character. Julia Spanja was an excellent Zerlina, her beguiling, sweet and flexible soprano joined with Don Giovanni in their love duet “La ci darem la mano” and also charmed in her duet with Masetto “Batti, batti o bel Masetto.” Spanja has an appealing “heft” to her voice that was enhanced by her fine acting. The role of the bewildered, battered Masetto was in the capable hands of Albert Donze, whose warm and plangent baritone blended beautifully with his Zerlina and whose endearing stage presence made the most of Masetto’s character. Lastly, the role of Il Commendatore, (Donna Anna’s father murdered by Don Giovanni) was stunningly portrayed by basso Larry Small. His ghostly countenance in white at the graveyard and his scene with Don Giovanni as his guest at home gave one goose bumps. Small’s resonant powerful and rich bass cut through the theater. Plaudits to stage and lighting director Linda Lehr whose innovative talent always does honor to the composers intentions and yet surprises, stuns and delights the audience. Finally, the Regina Opera Orchestra, under the splendid baton of Maestro Scott Jackson Wiley never sounded better. The multi-talented Wiley also provided the guitar accompaniment in Don Giovanni’s serenade as well as the keyboard for the parlando (singing dialogue). Sherman Chamber Ensemble sets off fireworks in Pawling PAWLING -- As their 25th anniversary season is heating up, the Sherman Chamber Ensemble once again outdid themselves, performing at the Trinity Pawling School last Friday night. The Pawling Concert Series likes to present a wide range of artistry and they didn't have to go very far to hit a bull's-eye, bringing the SCE from just across the hill for some classics with a Latin beat. Artistic director and cellist Eliot Bailen seems to have a knack for collaborations. First and foremost, his wife Susan Rotholz adds flute magic to anything she touches. Then we have a few of the SCE regulars, this time violinist Jill Levy and violist Sarah Adams. A few special guests usually join in, with Bailen tapping into an outstanding talent pool from all over the metro area. Flamenco guitarist Scott Jackson Wiley helped put together a hot historical trip touring with some classic Spanish composers. Violinist Robin Zeh completed the SCE string quartet and seemed at home with all onstage. And dancer/choreographer Gabriela Granados basically stole the show with castanets, fan, and a straight back chair. Extra credit should be given to Michael Moore for his scholarly but humorous program notes. Fortunately, there has been a good deal of renewed interest in the wealth of Spanish music recently. Some of it has that definite European sound, but there's another world to be explored in this hemisphere, south of the border. They opened with an exotic visit to Buenos Aires playing "Impresiones de la Puna" for flute and string quartet by Alberto Ginastera (1916 "" 1983). Exquisite flute work sounded like a waterfall going from turbulent to tranquil flow.
The SCE faced their moment of truth in "La Oracion del Torero (Prayer for a bullfighter)" by Joaquin Turina (1882 "" 1949). In an absolutely splendid execution, the quartet readily captured the impetuous shifting emotions, going in and out of inner peace, as the bullfighter prepares for his deadly encounter. Comparisons between Juan Crisostomo Arriaga (1805 "" 1826) and Mozart are easy to understand as his "Quartet No. 3 in E flat Major" demonstrated. Adams' spirited viola added to the nervous crescendo the strings developed in the stormy pastorale andantino. Wiley reminded us of some roots in ill repute, warning us to listen for the police knocking on the door in the Bordel section of "Histoire du Tango" by Astor Piazzolla (1921 "" 1992), arranged for flute and guitar. The duet created pulsating percussive rhythms, fantastic tonalities, and pinpoint articulation in this spellbinding showpiece. Sitting next to me, Pawling Concert Series President Kier Donaldson whispered "It's so easy to take Piazzolla." The anonymous flamenco folk tune "Ole de la curra" featured Wiley performing a romantic guitar solo, with a cool crisp castanet accompaniment by Granados. But this was just a teaser for her fandango routine in "Quintet in D Major (G. 448)" by Luigi Boccherini (1745 "" 1805). My attention has never been so diverted from the SCE music, as the dance dominatrix captured the spotlight in the closing number. From head to toe, her every movement was measured and magnificent. OLE!
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