Tag Archives: Corey Lovelace

A Fine Old-Timey “La Bohème” Comes Sprinkled With Youthful Energy and Fun

Review: La Bohème

By Perry Tannenbaum

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Whether it’s tuberculosis or AIDS, Paris or Greenwich Village, La Bohème or Rent, 1896 or 1996, death and disease are intertwined in our imaginations with the struggling, impoverished lifestyles of Bohemian artists and intellectuals. What lifts these shivering, starving folk from seediness and squalor to the nobility of poetry, never upgrading their threadbare garments, is the music of Giacomo Puccini and his rock apostle, Jonathan Larson. Come to Belk Theater and the Opera Carolina production of Puccini’s seminal work and you may get an inkling of how inseparable the two composers’ works can become.

Scenic designer Peter Dean Beck has not updated the loft where we first meet the poet/playwright Rodolfo, his painter chum Marcello, musician Schaunard, and philosopher Colline. The boulevard bustle of the Latin Quarter and Café Momus is not on the awesome Franco Zefferelli scale of the beloved Metropolitan Opera production, but the spirit and colorfulness of Act 2 are also faithfully captured, where temptress Musetta and toyseller Parpignol highlight the broadened palette. Down in the pit, maestro James Meena and the Opera Carolina Orchestra are no less devoted to the shifting moods of the score, whether lovers are pining or Christmas-crazed children are running wild.

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No, it’s director Aldo Tarabella in his Opera Carolina debut who bridges the gap between the 1830s, the actual setting specified in the Giuseppe Giacosa-Luigi Illica libretto, and the AIDs-plagued 1990s. From the outset through the intermission between Acts 2 and 3, Tarabella dispenses with subtlety in accenting the comedy of the first two scenes – the cavalier badinage between Rodolfo and Marcello as they cope with the cold, the successful conspiracy of the four tenants at the loft to thwart their landlord Benoit’s attempt to collect the rent, and the hoodwinking of Alcindoro, Musetta’s wealthy old sponsor, at Café Momus. There’s a certain amount of incorruptible idealism that infuses the Bohemians’ high spirits and deceptions, but with four performers making Charlotte debuts in this production, Tarabella also underscores the youthfulness of the Bohemians’ camaraderie and pranks.

Nor does Tarabella hold back when the mood shifts from mirth to tenderness, anguish, and heartbreak. When Alcindoro receives the bill at Café Momus after the Bohemian scamps have absconded, the old coot literally falls over backwards as the curtain comes down, and at the sad climax of Act 4, when Mimi has coughed her last, the impact on British tenor Adam Smith literally brings him to his knees as Rodolfo. In both instances, the direction is so flamboyant that we might feel like we’re watching a silent movie. Neither played like an overreach to the capacity crowd on opening night.

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If Tarabella seemed to be persuaded by Rent of the efficacy of emphasizing the youthfulness of Puccini’s opera, then the singers onstage must certainly have exerted a persuasive power over youths in the Belk audience who were experiencing the source of Rent for the first time. Smith in particular didn’t merely touch your heart when he sang the famed “Che gelida manina (Your tiny hand is frozen)” to Mimi as he responded to her plea for him to light her candle. When Smith ascended to the blazing summit of this aria, his rich, full-bodied tenor sent a bloody stake through your heart. It would be an understatement to say that Smith equaled the Rodolfo of tenor Ramón Vargas when I reviewed him at the 1205th performance of Bohème at the Metropolitan Opera in December 2008. Vargas was past his 48th birthday when I saw him, and he could no more match Smith’s sheer vocal power than he could match his youth and freshness.

Smith’s singing ought to be sufficient incentive for snapping up what few tickets might be available for the remaining three performances of this Bohème, but he also delivered the frivolity and nerdiness of Rodolfo when needed. The other Charlotte debuts had more to recommend them than merely their youth. Italian soprano Stefanna Kybalova, though not ideally suited to the exquisite fragility of Mimi, poignantly delivered the seamstress’s consumptive weakness. Kybalova was more effective as a soloist in Acts 3 and 4, during Mimi’s final decline and when she repeated her signature “Mi chiamano Mimi (They call me Mimi)” theme, but the duets with Smith were always gorgeous, including the two fadeouts which seem to crystallize the whole opera.

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Sicilian baritone Giovanni Guagliardo is considerably mellowed as Marcello compared with his previous Opera Carolina appearances as Tonio in Pagliacci and Sonora in La Fanciulla del West, joking and commiserating with Rodolfo in the loft scenes and sympathizing with the forlorn Mimi in the Act 3 snow scene. Yet he also flashed some fire dealing with the flirtatious, manipulative Musetta. The heat of their quarreling formed an effective counterpoint to Rodolfo and Mimi’s snowy reconciliation in the quartet that took us to the second intermission. For her part, soprano Corey Lovelace had all the sultry fire you could wish for in her Charlotte debut as Musetta, giving Guagliardo as much as he gave her in the fire department. She also had sufficient arrogant majesty to captivate us and dominate a stage full of people in front of Café Momus delivering “Musetta’s Waltz,” though Tarabella didn’t ask for Carmen-grade vamping from her.

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Outside of the two main couples, I didn’t much notice bass baritone Peter Morgan’s debut as Colline – or, for that matter, Keith Harris’s return as Schaunard – until Act 4. But to help clear the stage for Mimi and Rodolfo’s last deathbed tête-à-tête, Puccini masterfully has Colline sing a tender valedictory to his coat, which he resolves to pawn in order to provide food and medicine for the invalid. Morgan gave the aria a near-Russian solemnity, yet the eccentricity of this episode still resonated with the more blithe and high-spirited action of the opening act, when Rodolfo made a similar sacrifice, feeding his playscript to the stove to keep the Bohemians warm. Not so comical after all, despite the jibes of his companions.

Before Meena took his place in the orchestra, there was a filmed fundraising appeal aimed at boosting contributions from 23 to 30 percent of the company’s budget. Explicitly occasioned by the failure of the Charlotte sales referendum on behalf of arts and parks last November, just two days before a poorly attended opening of Verdi’s Macbeth, the appeal was aptly timed. The production that followed, in front of a packed house, affirmed what Opera Carolina is capable of when it gets the robust support it deserves.

Opera Carolina Taps into a New Audience with Three Short Operas – Including a World Premiere

Reviews: “A Hand of Bridge,” “The Telephone,” and “Connection Lost (The Tinder Opera)”

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By Perry Tannenbaum

Just when you might have thought Opera Carolina was turning away from fruitful collaborations, they are diving back in with renewed vigor. Last month’s production of The Barber of Seville, kicking off their 2016-17 mainstage season, rose to the same high level of the previous Op Carolina production of Rossini’s comic gem directed by Bernard Uzan in 2002. Yet a noteworthy difference was the absence of Piedmont Opera as a co-producer, so after its Charlotte run ended on October 30, there was no second run in Winston-Salem as there had been 14 years earlier. Not to fear, new collaborators came into play within four days as Op Carolina forged new bonds with the D9 Brewing Company and the Warehouse Performing Arts Center. While these two Cornelius, NC, outfits are non-operatic, they fit in with the Charlotte company’s aim to remind us that all operas aren’t grand and that all opera audiences need not be elderly, strait-laced, and richly appareled. Everything about their world premiere of Scott Joiner’s “Connection Lost (The Tinder Opera)” was youthful, casual, and populist.

The free event was at D9, where a line of draught beer taps greeted me near the entrance, and a row of tall stainless steel brew tanks caught my eye as I made my way to my front row seat – on a folding chair. Joiner’s new opera would half-surround me, a string quartet and pianist/music director Emily Jarrell Urbanek slightly behind me and a cast of 14 in front of me in a far corner of the brewery that served as a stage. Two smaller chamber operas with librettos by Gian Carlo Menotti led up to the premiere. Music director Erin Palmer accompanied from the keyboard as the triptych opened with “A Hand of Bridge,” the 1959 score by Menotti’s life partner Samuel Barber, almost axiomatically a four-hander. Dr. Greg Thompson took over at the keyboard for “The Telephone,” a two-hander that Menotti wrote all by himself in 1947, when it premiered together with The Medium.

Clocking at around a scant 10 minutes, “A Hand of Bridge” is a bit long for its subject, problematical for singers and stage directors because Menotti frequently loses interest in the cardplaying once the bidding stage is over. It’s the characters who matter, except perhaps for Sally, whose thoughts don’t go beyond the depth of craving a peacock-feather hat, appropriately the dummy for this hand. The way she announces her passive status gives her husband Bill a spasm of anxiety: maybe she has discovered that he’s having an affair! Sally, sung with slightly more personality than a tape loop by Anna Harrevald, seems like sufficient reason for a husband to stray. Singing about his beloved Cymbeline, tenor Kyle Melton seemed less blissfully committed to his paramour than disaffected with his wife. Cymbeline seemed to have six or other men to choose from, rousing jealousy within Melton’s aria, but his roiling passions made for a comical contrast with Harrevald’s shrill shallowness when they sang together.

The other couple had a different disconnect that evoked a little more sympathy. Geraldine has suddenly realized that nobody loves her, not her stock-trading husband, her football son, or even Bill, whose days of playing footsie with her under the table are long gone. With her pure soprano, Lindsey Gallegos took advantage of her opportunity to turn in the most heartfelt singing of the evening, crossing over the edge of maudlin when Menotti’s lyrics took her to regrets over her breach with her dying mother, the only person alive whom she feels truly cares. Her husband, David, underscored Geraldine’s isolation in a more human fashion than I anticipated. As David, baritone David Clark could sing feelingly about his status as a downtrodden stock market underling, dreaming of the excesses he would indulge in if he were richer than his hateful boss Pritchett, until he realized that, even with fabulous wealth, he’d still be likely to spend humdrum bridge nights with Bill and Sally. So the materialistic David had a wider range of emotion than Clark to contrast with his wife. Altogether the closing quartet sketched the separate subterranean streams that run through the minds of people who have known each other a long time but don’t truly know each other at all. Perhaps the most timely aspect of this quartet happened when “A Hand of Bridge” dropped us off in our current world with its final exclamation: “Trump!”

“The Telephone” was clearly the fulcrum of the program, linked to the “Bridge” miniature by its librettist and the world premiere to follow with its comical use of the phone. Separated by 79 years, those phones ought to look radically different, but stage director Jessica Zingher opted for an update, equipping both Ben and Lucy with cellphones. Poor Ben. He hopes to propose to Lucy before he must leave on a business trip, but the woman can’t be torn loose from her phone. I believe soprano Kate Edahl handled five phone calls while Ben attempted to present her with an engagement ring and pop the question, over 15 minutes of delays, exacerbated by some fine coloratura filigree. Three of the calls – chattering to Margaret, fielding a wrong number, and inquiring about the time – were frustrating for their triviality. Another two were connected: after getting a furious call from George, she had to tell Pamela about the false accusation. Unlike Ben, I found myself thankful for the follow-up call, because Edahl was mostly unintelligible responding to George’s unheard verbal assault.

Both of the modifications required by the update fell to baritone Eric Lofton to execute. Back in 1947, Ben attempted to disable Lucy’s phone by cutting the cord with a scissors while she was momentarily out of the room. Here he flipped a pair of scissors over and attempted the bludgeon her cell with the butt end, arguably improving the comedy effect. Lofton carried all of this off with a nice mixture of ardent devotion and helpless frustration, though the vocal lines afforded to Edahl were more flattering. And to tell the truth, the tech update applied to “The Telephone” leaves Ben looking a little less bright. Lucy occupies herself so long in phone chatter that Ben must leave on his business trip before he can propose. In 1947, he found a handy phone booth along the way, but in Opera Carolina’s revival, he simply pulls a cellphone out of his pocket – a stratagem he could have resorted to earlier instead of wielding those scissors. With all of Edahl’s giddiness and all of Loftin’s dogged earnestness, I found myself in a forgiving mood as the couple reached their happy ending, but what Thompson had provided from the keyboard to simulate the ringing of Lucy’s cell definitely needed a reboot.

Keeping those production shortfalls in mind, I was very happy to see the technical polish lavished upon “Connection Lost (The Tinder Opera).” If you haven’t heard of Tinder, I can tell you that it’s a smartphone app that facilitates getting acquainted with strangers through photos and texting. Getting information about the app and installing it are impressively easy. On my iPhone’s app store, I simply entered t in the search box and Tinder appeared instantly on the top of the list of choices, lending credence to their claim that they have made 10 billion matches worldwide. Joiner’s opera, extolling the joy, the excitement, and the pain of prospecting for a date with Tinder, explains the key difference between the free and paid versions of the app, shows us the app in action, and ends in delicious mock tragedy.

Besides the extra instrumental artillery of a string quartet, Michael Baumgarten completely covered the fevered Tinder activity of our protagonist, Graham, with a set of projection designs that were superbly synchronized to the texting/singing. Color-coded text balloons, white for Graham and blue for the parade of his dating prospects, were sequenced on opposite sides of brewery’s white wall behind the players, scrolling upwards as the sound and text conversations moved along. Glued to his smaller screen, Johnny Harmon was the young man fervently looking for love – within the constraints of the free app. In the only non-telephone conversation, Graham and a Waiter (Tim Laurio) concur that the monthly rate for the premium version of the app is way too high. Among the dozen prospects who texted with Graham, my favorites were Amber (Xela Pinkerton), Sakura (Sarah Musick), and – for obvious reasons – the dolled-up Dennis (David Clark). Sakura’s answers were in disconcerting Asian characters, and when Graham asked Amber whether she was free that night, she insisted she would only take cash.

Graham finally appeared to find a soulmate in Katie, wholesomely sung by Corey Lovelace. What clinched Katie’s attraction for Graham was her revelation that she liked opera, all the proof we needed that both Katie and Graham were people of genuine substance. But that was precisely the moment when tragedy struck. Dropped connection? Battery drain? Unlike his title, Joiner’s libretto offered the production team a choice, and Baumgarter chose the latter for his final screen shot. Graham’s expression of devastated anguish was worthy of Verdi’s Rigoletto. Instead of crying out “la maledizione!” (“the curse!”) as the inconsolable jester always does, Harmon let out a single word – “Tinder!” – with all the might of an overstressed lumberjack. A memorable ending to a fun hour of opera that absolutely delighted the standing-room-only crowd. Of course, the craft beer didn’t hurt, either. D9’s other collaboration with Opera Carolina is a West Coast IPA “boasting grapefruit and tropical fruit flavors.” If you haven’t guessed the name, it’s HOpera Carolina. I hope that more of these collaborations are on tap for the future.