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It was the Frogs with Nathan Lane at Lincoln Center's Rose Theater in three sold-out performances of Aristophanes' play.Lane, in his opening dialogue, proclaimed his "distinct honor and pleasure" to have collaborated with Stephen Sondheim on the revival of this unusual award-winning play written in 650 B.C. He also conveyed his satisfaction working with the play's director, Susan Stroman, and the outstanding contribution to the orchestrations by Jonathan Tunick. Although Lane said there were challenges in turning this unusual piece into a musical for modern times, the production had an amazing cast and preserved Sondheim's original score.The Frogs was written in 405 BC by Aristophanes, a comedy playwright who produced about 43 plays, of which only a handful survived. The play is set in a war-plagued society, fitting for the current world situation, and presents a very tongue-in-cheek look at comedy. The God Dionysos (Douglas Sills) travels to Hades, along with his slave Xanthias (Kevin Chamberlin), to bring back George Bernard Shaw (Dylan Baker) to rectify the world with some sanity for some confounded reason. The Birds of Aristophanes by Robinson Planche, 1846. Public DomainDionysos comments on his disdain for frogs, describing them as "slimy, ugly, disgusting troublemakers. They have big mouths and narrow little eyes to match their narrow little points of view." Aristophanes suggests his view of society by comparing it to frogs.But before Dionysos leaves for the underworld, he meets with his half-brother Herakles (Marc Kudisch) to explain his mission."I am obsessed by George Bernard Shaw," Dionysos says, "I'm sure you have noticed the world is in terrible shape, and we have need of him." He claims a great artist could be the world's salvation.Herakles prepares the rather naïve and wimpish Dionysos for his trip. On his journey to hell, he rides across the River Styx with Charon (Chuck Cooper), the ferryman of Hades who carries souls to their last resting spot. Charon is a rhyming comedian, bringing a rousing round of applause."Hades Express! Non-stop, just a short hop to the bottomless pit. This is it! Club Dead," Charon says. "Bring your shroud. No coffins allowed. There's too big a crowd."Interspersed throughout the hilarious dialogue is the renowned MasterVoices chorus of over 130, filling in as backstory. The audience was full of pleasure to see the dancers perform in green costumes as frogs, who are often featured in mythology as ill-fated creatures. Still, in this play, they try to thwart Dionysos's mission, reaffirming their roles as troublemakers.Pluto (Peter Bartlett) sings the accolades of hell to Dionysos, letting him know Shaw, along with Euripides, Shakespeare, and O'Neill, are at a banquet. Pluto sets up a game show-like contest between Shakespeare (Jordan Donica) and Shaw to see who is the better writer between the two and who will accompany Dionysos back to Earth. Lane's satirical jokes fly once again to the delight of the audience.Dionysos sings his last refrain, warning the citizens of Athens, "Dare I say it? What have we learned? We must participate or prepare to be burned. Frogs will be frogs and life's for the living. Man must use his brain, or there'll be much misgiving. I've taken a chance; I've brought back a poet. Let's take charge of the world before it's gone as we know it."A subtle caution for today's citizens of the world. MasterVoices presents The FrogsThe Frogs was an outstanding new adaptation, as Lane proclaimed, judging from the packed theater. Lane should once again be celebrated for his superb gift of humor and narration.The Frogs at Rose Theater, Jazz at Lincoln Center. Adapted by Burt Shevelove and narrator Nathan Lane. Music and lyrics by Stephen Sondheim. Directed by Susan Stroman. Orchestration by Jonathan Tunick. Conducted by Ted Sperling. Accompanied by MasterVoices Chorus and MasterVoices Orchestra.Starring host Nathan Lane, Douglas Sills as Dionysos, Kevin Chamberlin as Xanthias, Peter Bartlett as Pluto, Dylan Baker George Bernard Shaw, Chuck Cooper as Charon, Marc Kudisch as Herakles, Jordan Donica as Shakespeare and Candace Corbin as Ariadne.The Frogs at the Frederick P. Rose HallFrederick P. Rose HallBroadway at 60th Street, 5th FloorNew York, NY 10019MasterVoices57 W. 57th Street3rd F.L. STE. 324New York, NY 10019|Readers may also enjoy reviews of HEDY! The Life & Inventions of Hedy Lamarr, The Constant Wife, Scrambled Eggs, Rip Tide, and Twisted.https://youtu.be/T7Sj3nJtpb8?si=hcSHsRJhPFioUefk

Rating  4.8/5 MasterVoices Presents Jewish Sacred Music in tonight's O How Good program. This was a celebration of the life of MasterVoices board member Lois Conway. Hence, it celebrated Conway's life and the philanthropy and insightful leadership characterizing her service. The venue chosen for this event was moreover inspiring and magnificent as set in New York City's Central Synagogue. It's of course a stunning example of Moorish Revival architecture and a testament to the beauty and richness of Jewish tradition and culture. The Torah ScrollsThe main sanctuary features a soaring, domed ceiling with intricate geometric patterns and a massive chandelier glittering with thousands of crystals. Central Synagogue is indeed the home of a beautiful ark, which houses the Torah scrolls. Its intricate stained-glass windows cast a warm, colorful light over the space. The building naturally exudes a sense of grandeur and spirituality, making it a fabulous place of worship or for MasterVoices Presents Jewish Sacred Music. Furthermore, it is an exceptional venue for a musical celebration of a life lived well. Cantor Daniel Mutlu and MasterVoices Chorus. MasterVoices presents O HOW GOOD, Ted Sperling conductor. Credit Photo: Joe Carotta SanctificationConductor Ted Sperling began the concert with Kurt Weills Kiddush (1933), a choral work with lyrics by the prominent Jewish poet Rabbi Abraham Meir Ibn Ezra. Kiddush was written for the Jewish Sabbath eve and is a setting of the traditional Hebrew prayer for sanctification, recited over wine. It is also a powerful and unique composition that blends Jewish liturgy with modern musical styles,The work featured solo cantor and tenor Daniel Mutlu, baritone Justin Austin. The MasterVoices four-part choir and organist David Strickland accompanied.Ancient, Sacred TextThe cantor began by singing the opening lines of the Kiddush prayer, followed by the choir repeating the same text in a harmonized choral arrangement. Weill's setting is notable for juxtaposing an ancient, sacred text with contemporary harmonies. He also included musical forms from jazz and musical theater elements. The middle section of the piece featured a soaring, operatic solo by the cantor. This expressed the joy and sanctity of the Sabbath. Next was a choral response, building to a rousing apogee. The Benediction provided a simple, prayerful reprise of the opening melody, bringing the work to a peaceful close. Justin Austin, baritone. Ted Sperling, conductor. MasterVoices presents O HOW GOOD. Credit Photo: Joe Carrotta A Celebration of LifeThe audience next enjoyed a world premiere performance of And the Sun Goes Up by composer Daniel Rein. Rein introduced his work and accompanied on piano as Maestro Sperling conducted. Featured soloists were soprano Erin Brittain and alto Suzanne Schwing. Rein described his work as a celebration of life. And the Sun Goes Up was dramatic, joyful, introspective, and celebratory. A fresh and rhythmically exciting work, the audience was inevitably drawn into jubilant clapping. This exuberant and marvelous choral piece shall certainly join the oeuvre of important celebratory musical works.Prophetic TruthsThe program concluded with Ernst Bloch's Avodath Hakodesh (Sacred Service) (1933), a marvelous and essential large-scale choral work for soloists, choir, and orchestra. In his book Modern Composers, David Ewen wrote: "Something of the ecstasy of the Hebraic prophet has molded the artistic career of Ernst Bloch. No biblical Jeremiah consecrated himself to the pronouncement of prophetic truths with more passionate idealism and self-abnegation than Bloch to the composition of music. To Bloch, the creation of music in general, and Hebrew music in particular, has been a sacrosanct mission."Majesty and SanctitySacred Service was sung tonight in Ashkenazic Hebrew. It is a setting of the Sabbath morning liturgy from the Jewish prayer book, known as the "Shabbat Morning Service" or "Shacharit." This performance was powerful and deeply spiritual as it sought to convey the majesty and sanctity of the Jewish worship experience.The Sacred ServiceThe organization of the Avodath Hakodesh embraces the basic tenets of both Hebrew and Christian liturgy. It uses invocations of the precentor, subsequent responses, and meditative orchestral interludes. Akin to the broad tradition of liturgical works, its structure most decidedly gave the piece a ceremonial character noted for centuries in religious works. Bloch's music is infused with Jewish musical traditions throughout the Sacred Service, including cantorial melodies and Klezmer-style instrumentation. The liturgical works of Bach and Handel also influenced the work.Concluding HymnThe "Kedusha" (sanctification) was a rousing choral hymn celebrating the holiness of God. Notably, in the final section, "Vaanachnu" (Adoration), also known as the "Concluding Hymn," is a triumphant choral expression bringing the piece to a stirring close.Our experience of Ernest Bloch's Avodath Hakodesh (Sacred Service) performed by MasterVoices was a spiritual and artistic experience of sublime choral music. It expressed the beauty and profundity of Jewish liturgy in a profoundly moving and musically compelling way.Artistic VisionTed Sperling conducted with expression and aplomb. He clearly conveyed his deep understanding of the music and artistic vision to the choir. He lead with a strong sense of rhythm, dynamics, phrasing, articulation, and precise gestures. The soloists and choir's elegant responses to Sperling's leadership were characterized by excitement and inspiration, creating a truly memorable musical experience.Vocal ColorsTenor Daniel Mutlu projected clear, resonant, focused intones throughout his range, with smooth transitions between registers. He produced a wide variety of vocal colors, from a bright and ringing sound to a warm and velvety tone, depending on the demands of the music.Mutlu adapted his singing style to match the emotional content of the music. He conveyed both joy and sadness, passion and tenderness. His technical skill, musical sensitivity, and expressive power were mesmerizing. L-R- Baritone Justin Austin, Tenor Daniel Mutlu, and Organist David Strickland, courtesy of MasterVoices Drama and NarrativeBaritone Justin Austin played a significant role throughout tonight's program of MasterVoices Presents Jewish Sacred Music. What's more, he expressed musical narrative with his rich, resonant, and powerful voice. Austin moreover produced marvelous vocal colors and dynamic contrasts. He then maintained a consistent and even tone throughout his range, with smooth transitions between registers. Austin meanwhile demonstrated excellent breath control, facilitating long phrases while delivering a sense of ease and effortlessness in his singing. While conveyed the meaning and emotion of the music, Austin deftly communicated a sense of drama and narrative while connecting with the audience on a deep emotional level. His voice furthermore radiated a sense of sincerity and vulnerability in his singing. He clearly possesses a natural stage presence and the ability to engage with the audience in a powerful and charismatic way.O How GoodMasterVoices Presents Jewish Sacred MusicTed Sperling, conductorJustin Austin, baritoneDaniel Mutlu, tenorDavid Strickland, organDaniel Rein, pianoErin Brittain, sopranoSuzanne Schwing, altoAdriana Harrison, timpaniShai Wetzer, percussionCarey Blaine White, speakerFor information about MasterVoices, go to MasterVoices.org.For tickets to MasterVoices May 3 Carnegie Hall Performance of IOLANTHE by Arthur S. Sullivan and W.S. Gilbert, go to https://www.mastervoices.org/events/iolanthe/.Readers may also enjoy our reviews of MasterVoices Presents Carmen, Love by MasterVoices, Flight by MasterVoices, The Orchestra of St. Lukes, and Paul Taylor American Modern Dance.https://www.youtube.com/watch?v=ADC4Y7VVtXA

Rating  4.8/5 Gilbert and Sullivan reigned supreme in MasterVoices presents Iolanthe (1882). Moreover, they stormed the Carnegie Hall stage with an electric atmosphere and exuberant panache. Presented indeed to tonight's full house was an exquisitely entertaining and sublime musical extravagance with visual treats, and literary merriment. Viewers were unquestionably delightfully immersed in a witty, satirical interpretation of Victorian society and politics, along with Gilbert's libretto bursting with clever banter, quips, and droll irony.Absurdity, Charm and SatireIolanthe was an excellent choice for a particularly comedic, whimsical production. In this case, the plot circles around a group of mythical fairies banished from the Fairyland realm for marrying humans, thus violating Fairy law. One fairy on this occasion, Iolanthe, was pardoned by the Fairy Queen after serving a 25-year sentence for marrying a mortal. Iolanth's son Strephon is half-fairy, half-human, and in love with Phyllis, a ward of the Chancery. Then, the Lord Chancellor and two wealthy Earls also love Phyllis and are determined to stop the marriage between Strephon and Phyllis. Hence, the stage was set for a delightful, inventive romp through a fantastical world of absurdity, charm, and satire.MasterVoices presents Iolanthe The genius of Gilbert and Sullivan as they peruse the score of Iolanthe. Digital art by Edward KliszusWhile Iolanthe contains the expected Gilbert and Sullivan musical delights and wit, it also expresses a bit of late Victorian England's social and political climate with its growing discontent with the House of Lords obfuscating reform and progress.Performed by an orchestra, large chorus, vocal soloists, and ballet artist, Sullivan's music portrayed captivating melodies, clever harmonies, and elaborate choral arrangements. Consequently, the music was unforgettable and engaging and ranged from comic patter songs to heartfelt ballads.Dreamlike AtmosphereTed Sperling's frequent use of a chorus of mythical fairies adorned with enchanted, glowing headpieces supported the ethereal, magical quality of the music. Hence, the creation of a dreamlike atmosphere that contrasts with the mortal characters' more boisterous music.Many magical moments occurred including the Nightmare Song with patter and linguistic dexterity performed by the Lord Chancellor (David Garrison). Take the case of multiple appearances by the expressive Dancing Fairy (Tiler Peck) portrayed her grace, athleticism, and artistry. The soaring, beautifully poignant love duet, None Shall Part Us, as performed by Strephon (Schyler Vargas) and Phyllis (Ashley Fabian), was undeniably romantic and passionate while aptly conveying the music’s depth and intensity. Fabulous and MagnificentThe entrance of the Peers singing Loudly Let the Trumpet Bray was fabulous and magnificent. The hilarious, naughty, and memorable If You Go In You're Sure to Win, was then sung by the Lord Chancellor (David Garrison), the Earl of Mountararat (Santino Fontana), Earl Tolloller (Jason Danieley), Private Willis (Phillip Boykin) and Peers of the Realm (ensemble).Every detail of MasterVoices's Iolanthe was expertly crafted and choreographed by conductor/director Ted Sperling and his creative team. The world-class vocal soloists in fact used microphones, and words to the music appeared on a large screen above the stage. Then, when some idiomatic terms materialized, comical and informative footnotes appeared. Cover Artwork of Iolanthe piano transcriptions by Ernst Perabo - Original. Public DomainChuckles, Cheers, and other AffirmationsThis production portrayed the essence of excellent artistry coupled with modern technological tools. Audience members were certainly and masterfully delivered full access to every quip, idiom, and reference intended by Gilbert and Sullivan. Moreover, during the entire production, laughs, chuckles, cheers, and other affirmations continued. Applause indeed occurred frequently, and the denouement received an extended standing ovation and multiple bows. Accordingly, the soloists, dancer, orchestra, costumes, choreography, and lighting were superb while Sperling's conducting was masterful, precise, effective, and expressive.Bravo to the cast and crew of MasterVoices! Be sure to travel to www.MasterVoices.org and subscribe for news on upcoming events.MasterVoices presents Iolanthe (or the Peer and the Peri)Music by Arthur S. Sullivan - Lyrics and Libretto by W.S. GilbertConducted and Directed by Ted SperlingChoreographer and Associate Director, Andrew PalermoCostume design by Tracy ChristensenLighting design by Scott LehrerCAST OF CHARACTERS of MasterVoices presents IolantheTHE LORD CHANCELLOR, David GarrisonTHE QUEEN OF THE FAIRIES, Christine EbersoleIOLANTHE (a Fairy—Strephon's mother), Shereen AhmedSTREPHON (An Arcadian Shepherd), Schyler VargasPHYLLIS (an Arcadian Shepherdess and Ward of Chancery), Ashley FabianGEORGE, THE EARL OF MOUNTARARAT, Santino FontanaTHOMAS, THE EARL TOLLOLLER, Jason DanieleyPRIVATE WILLIS (of the Grenadier Guards), Phillip BoykinCELIA, Nicole Eve GoldsteinLEILA, Kaitlyn LeBaronFLETA, Emy ZenerDANCING FAIRY, Tiler PeckRuntime was about 2.5 hours with intermission.Carnegie HallStern Auditorium/Perelman Stage881 Seventh AvenueNew York, NY 10019www.MasterVoices.orgSubscribe HERE to MasterVoices for upcoming events.More about the "Fairies" and “Lords” of Iolanthe.Connect with MasterVoices on Facebook, Twitter, and Instagram (@mastervoicesny).Readers may also enjoy MasterVoices presents Carmen, Faith by MasterVoices, MasterVoices Presents a Concert of Jewish Sacred Music at Central Synagogue, and Love by MasterVoices. https://www.youtube.com/watch?v=oOjWfuyEbUs