#operareview

NEW YORK - Opera in the Garden by the ON SITE OPERA (Selected Excerpts)Tonight's performance was another artistic, musical triumph by ON SITE OPERA. The audience experienced enchanting, virtuosic, and well-crafted music-making in a delightful natural setting in New York City. Approbation was well earned by the ensemble's leadership and coterie of gifted performing artists. I shall describe just a few of tonight’s highlights. You must follow ON SITE OPERA to experience their upcoming performances. L-R: Soprano Teresa Castillo and Mezzo Soprano Devony Smith in Opera in the Garden by the ON SITE OPERA. Photo by Edward KliszusSite Specific OperaLikewise, this event was another example of ON SITE OPERA's commitment to continuing its mission as "the country's leading presenter of site-specific operas in non-traditional venues." Essentially, they use the magic of opera to "cultivate a new generation of opera audiences."Attention to DetailMore than that, craft, artistry, and attention to detail were at the forefront. In addition to a fabulous setting, gifted artists, and informed narration, ON SITE OPERA provided a superb digital program book containing stories about tonight's music. Moreover, texts for the music were provided in the original languages of French, Italian, and Czech with English translations. One simply scanned the bar code printed on the provided paper cooling fans to access the program. Sarah Ina Meyers, Narrator, distributing rocks to children to help Hansel and Gretel in Opera in the Garden by the ON SITE OPERA. Photo by Edward KliszusSerene AtmosphereIt was a beautiful evening in the West Side Community Garden for this ON SITE OPERA production of "Opera in the Garden." The audience arrived at the end of a warm summer day in a park of lush greenery and a serene atmosphere. Visitors, including children and adults, sat in a circular scene set in a clearing surrounded by trees and flowers, with twinkling lights and a magical ambiance. A gentle breeze rustled the leaves as birds gently twittered, and the setting sun cast a golden glow.Songbirds Gently GreetedAs songbirds gently greeted adults and children, Executive Director of ON SITE OPERA Piper Gunnarson welcomed the audience and described the charming themes of tonight's musical fare. L-R Mezzo Soprano Devony Smith and Soprano Teresa Castillo singing Evening Hymn from Humperdinck's Hansel and Gretel. Photo by Edward KliszusTenderness, Fantasy, and MagicPianist Matthew Lobaugh arrived as narrator Sarah Meyers, adorned with a flower crown and flowing garb, led tonight’s audience sojourn through the production. Myers masterfully and delightfully described each work's storyline, features, and provenance.As the narration and first musical strains were heard, the audience began its inspirational immersion into tales of tenderness, fantasy, and magic. The program featured music and scenes from Claude Bizet's Sirène (mermaid), Engelbert Humperdinck's Hansel and Gretel, Cendrillon (Cinderella) by Pauline García Viardot, La Cenerentola by Gioachino Rossino, and Antonín Dvořák's Rusalka. In this intimate setting, the performers appeared around and throughout the audience.Expressive DepthsSoprano Shaina Martinez opened the program with Bizet’s La Sirène. She richly conveyed the work’s lyrical, flowing melodies, evoking the siren's mythical allure. In addition, through musical fluidity and grace, Martinez reflected Bizet's gift for melodic invention and conveyance of emotion through music. As La Siréne, Martinez projected the associated ethereal qualities and expressive depths. She aptly demonstrated her ability to produce clear, bell-like tones, particularly in the upper register, to create an exciting, mesmerizing, and beguiling performance.Timeless TaleAs Myers described Grimm's Fairy Tale, Hansel and Gretel, mezzo-soprano Devony Smith (Hansel), and soprano Teresa Castillo (Gretel) emerged to project their roles in this timeless tale. Lyric Soprano Shaina Martinez performing at Opera in the Garden by the ON SITE OPERA. Photo by Edward KliszusSonic PoetryClearly, the duo possessed the marvelous chemistry essential to the performance. Castillo, like Gretel, brought a sense of fun and mischief by sometimes playfully teasing Hansel. She used her vibrant, vigorous voice to convey the innocence and playfulness of the character, and with movements of confidence and spirit, captured Gretel’s adventurous personality. Furthermore, Castillo’s warm, rich voice depicted Gretel’s protective nature as her voice complemented Devony Smith as Hansel. The duo consequently created a harmonious blend that filled the park with beautiful choral, sonic poetry.Vibrant SpiritCharacterized by Gretel’s curiosity and energy, Castillo moved gracefully through the space, interacting with the environment while conveying the character’s vibrant spirit. Her expressions were open and engaging as she drew the audience into her world.Buoyant and SpiritedHansel's character was more grounded and mischievous. Smith brought a sense of fun and mischief to the performance, sometimes playfully teasing Gretel. Her movements were buoyant and spirited, capturing Hansel's adventurous personality.Pure Musical ElationThe duo's playful banter, affectionate teasing, and harmonious duets highlighted the close bond between Hansel and Gretel. Their voices intertwined beautifully, creating moments of pure musical elation and poetic magic that resonated through the garden.At one point, children from the audience were beckoned to place white stones on the ground with which Hansel and Gretel could find their way home from the forest. The duo’s combined dramatic and musical power was most evident in the mesmerizing and sumptuous Evening Hymn that closed the first act. Enchanting, lovely, delightful!Pastoral BeautyMezzo Soprano Devony Smith returned for a solo performance of Cenerentola (Nacqui all'affanno). Devony brought the character to life with a charming, heartfelt portrayal. Her expressiveness and graceful movements conveyed the character's innocence and inner strength. She elegantly moved while interacting with the natural surroundings of occasional fluttering birds and rustling leaves. Smith artistically embodied Cenerentola's humble yet dignified character as she connected with and reflected the pastoral beauty of the setting. "No longer sad by the fire will I stay sighing alone, no! It was a flash, a dream, a game, the sorrow I endured so long is gone! " L-R: Closing bows with Pianist Matthew Lobaugh, Soprano Teresa Castillo, Soprano Sara Beth Pearson, Lyric Soprano Shaina Martinez and Mezzo Soprano Devony Smith in Opera in the Garden by the ON SITE OPERA. Photo by Edward KliszusEthereal VirtuesAfter the second act of Hansel and Gretel, soprano Sara Beth Pearson finished the evening with a truly informed and nuanced performance of Antonín Dvořák's Rusalka (Song to the Moon). Pearson's interpretation showcased passion, technical mastery, and emotional depth. Her voice filled the air with the haunting beauty of the narrative while delivering each note with precision and heartfelt expression. She elegantly captured the longing and ethereal virtues of the character. The music encompassed, after all, in every phrase, gesture and word, themes of sorrow and hope, passionate yearning, and tragic love. L-R: Soprano Teresa Castillo, Lyric Soprano Shaina Martinez, Soprano Sara Beth Pearson, and Mezzo Soprano Devony Smith. Courtesy osopera.orgOpera in the Garden by the ON SITE OPERAFeaturingShaina Martinez, SopranoTeresa Castillo, SopranoSara Beth Pearson, SopranoDevony Smith, Mezzo SopranoMatthew Lobaugh, PianistSarah Ina Meyers, Narrator, Stage Director and Artistic DirectorPiper Gunnarson, Executive DirectorEmily Barber, Stage Manager60-minute running time L-R: Narrator and Artistic Director Sarah Meyers, PIanist Matthew Lobaugh, Stage Manager Emily Barber, and OSO General Director Piper Gunnarson. Courtesy osopera.orgON SITE OPERA475 Riverside Drive #1373New York, New York 10115347-394-3050For Information, click HEREDonate to On Site Opera, a 501(c)3 charitable organization at this LINK.Readers may also enjoy our reviews of Norm Lewis at 54 Below, Tony Danza, Meg Okura at the Met Museum, Laura Benanti at the Minetta Lane Theater, Brazilian Jazz at Le Bab Ilo in Paris, and Marilyn Maye birthday celebration at 54 Below.https://youtu.be/9m7bGzxLzuo?si=zaL8_mbbRok2_Pws

NEW YORK - Opera in the Garden by the ON SITE OPERA (Selected Excerpts)Tonight's performance was another artistic, musical triumph by ON SITE OPERA. The audience experienced enchanting, virtuosic, and well-crafted music-making in a delightful natural setting in New York City. Approbation was well earned by the ensemble's leadership and coterie of gifted performing artists. I shall describe just a few of tonight’s highlights. You must follow ON SITE OPERA to experience their upcoming performances. L-R: Soprano Teresa Castillo and Mezzo Soprano Devony Smith in Opera in the Garden by the ON SITE OPERA. Photo by Edward KliszusSite Specific OperaLikewise, this event was another example of ON SITE OPERA's commitment to continuing its mission as "the country's leading presenter of site-specific operas in non-traditional venues." Essentially, they use the magic of opera to "cultivate a new generation of opera audiences."Attention to DetailMore than that, craft, artistry, and attention to detail were at the forefront. In addition to a fabulous setting, gifted artists, and informed narration, ON SITE OPERA provided a superb digital program book containing stories about tonight's music. Moreover, texts for the music were provided in the original languages of French, Italian, and Czech with English translations. One simply scanned the bar code printed on the provided paper cooling fans to access the program. Sarah Ina Meyers, Narrator, distributing rocks to children to help Hansel and Gretel in Opera in the Garden by the ON SITE OPERA. Photo by Edward KliszusSerene AtmosphereIt was a beautiful evening in the West Side Community Garden for this ON SITE OPERA production of "Opera in the Garden." The audience arrived at the end of a warm summer day in a park of lush greenery and a serene atmosphere. Visitors, including children and adults, sat in a circular scene set in a clearing surrounded by trees and flowers, with twinkling lights and a magical ambiance. A gentle breeze rustled the leaves as birds gently twittered, and the setting sun cast a golden glow.Songbirds Gently GreetedAs songbirds gently greeted adults and children, Executive Director of ON SITE OPERA Piper Gunnarson welcomed the audience and described the charming themes of tonight's musical fare. L-R Mezzo Soprano Devony Smith and Soprano Teresa Castillo singing Evening Hymn from Humperdinck's Hansel and Gretel. Photo by Edward KliszusTenderness, Fantasy, and MagicPianist Matthew Lobaugh arrived as narrator Sarah Meyers, adorned with a flower crown and flowing garb, led tonight’s audience sojourn through the production. Myers masterfully and delightfully described each work's storyline, features, and provenance.As the narration and first musical strains were heard, the audience began its inspirational immersion into tales of tenderness, fantasy, and magic. The program featured music and scenes from Claude Bizet's Sirène (mermaid), Engelbert Humperdinck's Hansel and Gretel, Cendrillon (Cinderella) by Pauline García Viardot, La Cenerentola by Gioachino Rossino, and Antonín Dvořák's Rusalka. In this intimate setting, the performers appeared around and throughout the audience.Expressive DepthsSoprano Shaina Martinez opened the program with Bizet’s La Sirène. She richly conveyed the work’s lyrical, flowing melodies, evoking the siren's mythical allure. In addition, through musical fluidity and grace, Martinez reflected Bizet's gift for melodic invention and conveyance of emotion through music. As La Siréne, Martinez projected the associated ethereal qualities and expressive depths. She aptly demonstrated her ability to produce clear, bell-like tones, particularly in the upper register, to create an exciting, mesmerizing, and beguiling performance.Timeless TaleAs Myers described Grimm's Fairy Tale, Hansel and Gretel, mezzo-soprano Devony Smith (Hansel), and soprano Teresa Castillo (Gretel) emerged to project their roles in this timeless tale. Lyric Soprano Shaina Martinez performing at Opera in the Garden by the ON SITE OPERA. Photo by Edward KliszusSonic PoetryClearly, the duo possessed the marvelous chemistry essential to the performance. Castillo, like Gretel, brought a sense of fun and mischief by sometimes playfully teasing Hansel. She used her vibrant, vigorous voice to convey the innocence and playfulness of the character, and with movements of confidence and spirit, captured Gretel’s adventurous personality. Furthermore, Castillo’s warm, rich voice depicted Gretel’s protective nature as her voice complemented Devony Smith as Hansel. The duo consequently created a harmonious blend that filled the park with beautiful choral, sonic poetry.Vibrant SpiritCharacterized by Gretel’s curiosity and energy, Castillo moved gracefully through the space, interacting with the environment while conveying the character’s vibrant spirit. Her expressions were open and engaging as she drew the audience into her world.Buoyant and SpiritedHansel's character was more grounded and mischievous. Smith brought a sense of fun and mischief to the performance, sometimes playfully teasing Gretel. Her movements were buoyant and spirited, capturing Hansel's adventurous personality.Pure Musical ElationThe duo's playful banter, affectionate teasing, and harmonious duets highlighted the close bond between Hansel and Gretel. Their voices intertwined beautifully, creating moments of pure musical elation and poetic magic that resonated through the garden.At one point, children from the audience were beckoned to place white stones on the ground with which Hansel and Gretel could find their way home from the forest. The duo’s combined dramatic and musical power was most evident in the mesmerizing and sumptuous Evening Hymn that closed the first act. Enchanting, lovely, delightful!Pastoral BeautyMezzo Soprano Devony Smith returned for a solo performance of Cenerentola (Nacqui all'affanno). Devony brought the character to life with a charming, heartfelt portrayal. Her expressiveness and graceful movements conveyed the character's innocence and inner strength. She elegantly moved while interacting with the natural surroundings of occasional fluttering birds and rustling leaves. Smith artistically embodied Cenerentola's humble yet dignified character as she connected with and reflected the pastoral beauty of the setting. "No longer sad by the fire will I stay sighing alone, no! It was a flash, a dream, a game, the sorrow I endured so long is gone! " L-R: Closing bows with Pianist Matthew Lobaugh, Soprano Teresa Castillo, Soprano Sara Beth Pearson, Lyric Soprano Shaina Martinez, and Mezzo Soprano Devony Smith in Opera in the Garden by the ON SITE OPERA. Photo by Edward KliszusEthereal VirtuesAfter the second act of Hansel and Gretel, soprano Sara Beth Pearson finished the evening with a truly informed and nuanced performance of Antonín Dvořák's Rusalka (Song to the Moon). Pearson's interpretation showcased passion, technical mastery, and emotional depth. Her voice filled the air with the haunting beauty of the narrative while delivering each note with precision and heartfelt expression. She elegantly captured the longing and ethereal virtues of the character. The music encompassed, after all, in every phrase, gesture and word, themes of sorrow and hope, passionate yearning, and tragic love. L-R: Soprano Teresa Castillo, Lyric Soprano Shaina Martinez, Soprano Sara Beth Pearson, and Mezzo Soprano Devony Smith. Courtesy osopera.orgOpera in the Garden by the ON SITE OPERAFeaturingShaina Martinez, SopranoTeresa Castillo, SopranoSara Beth Pearson, SopranoDevony Smith, Mezzo SopranoMatthew Lobaugh, PianistSarah Ina Meyers, Narrator, Stage Director and Artistic DirectorPiper Gunnarson, Executive DirectorEmily Barber, Stage Manager60-minute running time L-R: Narrator and Artistic Director Sarah Meyers, PIanist Matthew Lobaugh, Stage Manager Emily Barber, and OSO General Director Piper Gunnarson. Courtesy osopera.orgON SITE OPERA475 Riverside Drive #1373New York, New York 10115347-394-3050For Information, click HEREDonate to On Site Opera, a 501(c)3 charitable organization at this LINK.Readers may also enjoy our reviews of Norm Lewis at 54 Below, Tony Danza, Meg Okura at the Met Museum, Laura Benanti at the Minetta Lane Theater, Brazilian Jazz at Le Bab Ilo in Paris, and Marilyn Maye birthday celebration at 54 Below.https://youtu.be/9m7bGzxLzuo?si=zaL8_mbbRok2_Pws

Rating  4.8/5 This was an evening when On Site Opera presents Puccini's Il Tabarro, the first of the composer's collection of three one-act operas entitled Il Trittico. Set in Paris in 1910 on a barge docked on the Seine River in Paris, Il Tabarro is a moody, gripping work. The opera explores themes of love, betrayal, revenge, and the desperation and anguish of individuals trapped in harsh circumstances, painting a poignant and emotionally charged picture of the characters' lives. Here, on the docks of New York's historical and beautiful South Street Seaport by the gangplank and main deck of the lightship Ambrose, through Il Tabarro, the company expressed plaintive resonances of the river, Cavalleria Rusticana emotions, and verismo effects of intense emotional expression. Puccini's brief portentous, motivic musical references in Il Tabarro to his previously crafted opera La Bohème were delightfully relevant. Listeners may recall the opening melody of the aria Si, Mi chiamano Mimi portraying Puccini's tragic character Mimi. Scored for a large orchestra, Il Tabarro was accompanied at this performance instead by a chamber orchestra, providing listeners with an intimacy typically enjoyed at performances of works like Stravinsky's Pulchinella or Histoire du Soldat. Instruments were amplified separately through an excellent sound system. Similarly, each vocalist used wireless body mics. This sound configuration resulted in immersive, intimate, visceral, and spellbinding access to the extraordinary artistry of the opera, the cast, and the orchestra. Sound, costumes, three-dimensional sets, and even the sound of the ship's bells supported the expressions of musical beauty and contrasting raw, powerful emotions. We achieved unique access to the music's psychological depths, vivid portrayals, and pivotal scenes. The setting for Il Tabarro by the One Site Opera. Photo by Edward Kliszus The versatile and robust spinto tenor Yi Li was unswervingly magnificent as he expressed both Luigi's simple and complex desires. In a duet with Giorgetta, O Luigi, Luigi, Li expressed Luigi's yearning for a better life and passion for freedom. The profundity of his emotions was palpable as he longed for a world beyond the restrictions of the barge, free from monotony and rich with contentment. Giorgetta and Luigi's forbidden love and passion reached intoxicating heights in this aria. The Cast in a scene from Il Tabarro. Photo by Dan Wright Photography Soprano Ashley Milanese presented a passionate, poignant, and expressive Giorgetta through her delicate, brilliant, and soaring vocal lines above the orchestral textures. She exquisitely expressed her longing for love, unfulfilled desires, and the depths of her yearning. In O Luigi! Luigi, while expressing her forbidden desire for Luigi, she revealed her innermost feelings. Giorgetta's duet with Luigi in E' ben altro il mio sogno was mesmerizing and heart-wrenching and captured the depth of her sorrow, regret, and emotional pain. The third member of the love triangle, Giorgetta’s husband Michele, performed by Eric McKeever, showcased the baritone's ability to project through music the essence of human passion and intense emotions that drove the opera's tragic events. In Scorri, fiume, McKeever's magnificent voice resonated with melancholy and resignation, capturing the weight of Michele's past and acceptance of life's sometimes harsh realities. Later in O Luigi! Luigi! with Giorgetta, and while confronting his wife's infidelity, he projects desperation and fury. In Nulla! Silenzo! McKeever trembled with grief and rage as he poured out Michele's heart-wrenching emotions—the music built to a dramatic climax, reflecting the magnitude of anguish and unfolding of cataclysmic events. Tonight's soloists were consistently marvelous and presented a thrilling performance of a seminal artwork with the support of a splendid chorus, orchestra, and production team. With fine sound, staging, and costumes rendered in a unique maritime setting, we extravagantly experienced the opera's dramatic and emotional depth characterized through Puccini's rich, evocative inventions. The performance was a memorable, compelling, and immersive experience. The cast of On Site Opera's Il Tabarro. Photos from OSOpera.org On Site Opera presents Puccini's Il Tabarro (1918) Music by Giacomo PucciniLibretto by Giuseppa AdamiBased on Didier Gold’s Play La houppelande CAST Yi Li as LuigiJose Heredia as TincaEric McKeever as MicheleAshley Milanese as GiorgettaSharmay Musacchio as La FrugolaDane Suarez as Song Seller/Lover/Luigi Cover (absent for this performance and covered by Daniel Rosenberg)Daniel Rosenberg as Ensemble Tenor/Tinca/Song Seller/Lover CoverArtega Wright as TalpaClaire Coven as Ensemble MezzoYohji Daquio as Ensemble SopranoLindsey Kanaga as Female Lover/Ensemble SopranoPaul La Rosa as Ensemble Baritone/Michele CoverBrian McQueen as Ensemble Bass/Talpa CoverTheodora Siegal as Ensemble SopranoKiena Williams as Ensemble Soprano/Giorgetta CoverJoanna Vladyka as Ensemble Mezzo/La Frugola Cover (Go to https://osopera.org/productions/tabarro/ for cast bios) PRODUCTION TEAM Costume Coordinator – Sophie StratynerCostume Assistant – Ayden McKenzieRehearsal Pianist – Cris FriscoHouse Manager – Ciara DiSeta CREATIVE TEAM Intimacy Director - Katherine M. CarterProps Designer – Rachel KennerCostume Designer – Howard Tsvi KaplanLighting Designer – Shawn K. KaufmanStage Director – Laine RettmerSound Designer – Scott StaufferStage Manager – Mariko TakizawaAssistant Stage Manager – Tatyana SmithFight Director – Jason Paul TateHair & makeup Designer – Gabrielle Vincent THE ORCHESTRA Featuring members of the American Modern EnsembleConductor – Geoffrey McDonaldConcertmaster — Georgy ValtchevViolin 1 — Nikita Mozorov, Suzy PerelmanViolin 2 — Hector Falcon, Victoria PatersonViola — Artie Dibble, Jacob RollinsCello — Peter Sachon, Laura MetcalfBass — Pawel KnapikPercussion — Clara WarnaarHarp — Kristi Shade + cartageFlute — Ginevra PetrucciOboe — Boris BaevClarinet — David ValbuenaBassoon — Gilbert DeJeanHorn — Will DeVos, Eric DavisTrumpet — Alejandro Lopez-SammameTrombone — Karl Lyden Runtime was about 55 minutes. ON SITE OPERA PO Box 231480New York, NY 10023347-394-3050For information, donations, and tickets, go to https://osopera.org/ Staff Contacts Eric Einhorn, General & Artistic Director [email protected] Gunnarson, Executive Director [email protected] Saha, Development Manager [email protected] Barber, Production Manager [email protected] Dunwoody, Marketing Manager [email protected] Readers may also enjoy our reviews of the OnSite Opera production of Mozart's The Magic Flute, Oratorio Society of New York performs Bach’s Mass in B minor, MasterVoices presents Iolanthe at Carnegie Hall, the Art Bath Salon Series, and Madama Butterfly at Lincoln Center.s https://www.youtube.com/watch?v=5ZQYBxVG-NI&t=14s

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

Rating  4.7/5 Tonight, the On Site Opera presented excerpts from W. A. Mozart's The Magic Flute in the West Side Community Garden at 123 West 89th Street, New York as part of their Opera in the Garden series. It was a delightful evening of gentle breezes, beautiful gardens, warbling birds, and a coterie of world-class musicians presenting the brilliant and charming musical delights and mysteries that have enchanted audiences since The Magic Flute's 1791 premiere. Producers thought of everything, and while tonight's works were sung in their original languages, audience members were provided with a QR code that provided live English language subtitles on their personal smartphones. L-R: Aaron Blake (Photo Dario Acosta), Joanna Vladyka (Photo JoannaVladyka.com) Maggie Finnegan (Photo MaggieFinneganSoprano.com), Cristina Maria Castro (Photo Rex Lott Photography), Mario Diaz Moresco (Photo MarioDiazMoresco.com). Soprano Cristina Maria Castro in a scene from The Magic Flute. Photo by Edward KliszusMozart's masterpiece Die Zauberflöte (The Magic Flute) portrays the escapades of Prince Tamino as he embarks on a journey to rescue Princess Pamina, the daughter of the Queen of the Night. A two-act opera, the story is replete with trials and interactions with mystical and fanciful beings.Narrator Eric Einhorn unfolded the story as a kindly grandfather might while reading to his grandchildren. Einhorn shared insights while fueling imagination and agency, unfolding The Magic Flute in its tale of love, heroism, and quest for truth and enlightenment. He intertwined fantastical elements, imagery, and the abiding power of music. Baritone Mario Diaz Moresco and Tenor Aaron Blake, in a scene from The Magic Flute. Photo by Edward KliszusChildren at the event were smiling and stirring to the musical strains. These moments created lasting memories that helped instill a lifelong love for the musical and dramatic arts and are evidence of On Site Opera’s stated mission of making opera more accessible to all. L-R: Soprano Maggie Finnegan, Baritone Mario Diaz Moresco, and Tenor Aaron Blake in a scene from The Magic Flute. Photo by Edward KliszusThe audience reveled in beautiful arias, sparkling scenes, and resplendent ensemble passages from the Pa-Pa-Pa-Papageno duet performed by Cristina Maria Castro and Mario Diaz Moresco to the transcendent Der Hölle Rache (Hell's vengeance boils in my heart) with its coloratura passages of splendid artistry performed by Maggie Finnegan as Queen of the Night. Aaron Blake as Tamino soared, captivating the audience with Wie stark ist nicht dein Zauberton (How strong is your magic tone!). Joana Vladyka stole hearts with Non so più cosa son (I do not know what I am, what do I do?). L-R: Mezzo-Soprano Joanna Vladyka and Soprano Maggie Finnegan in a scene from The Magic Flute. Photo by Edward KliszusTonight's Opera in the Garden On Site Opera production was a night of magical enchantment, charismatic strains, and sublime artistry. Moreover, the characters roamed about the garden and interacted with the audience, creating an intimate, immersive experience nearly impossible in a concert hall. With superb singing, a refined but effectual musical accompaniment of piano, and two accomplished flutists, listeners were transported to a mythical realm of captivating imagination and charm. The audience's experience was transformative, transcending into the boundaries of reality through engagement in the rich tapestry of the opera's narrative, characters, and music.ArtistsMaggie Finnegan, Queen of the Night/1st LadyCristina Maria Castro, Pamina/Papageno/2nd LadyJoanna Vladyka, 3rd LadyAaron Blake, TaminoMario Diaz Moresco, PapagenoEric Einhorn, NarrationCandace Chien, PianoGinevra Petrucci and John Rumeri, Flute and PiccoloON SITE OPERAPO Box 231480 New York, NY 10023 347-394-3050Be sure to pre-register for future performances as seating is limited. For information, donations, and tickets, go to https://osopera.org/Staff ContactsEric Einhorn, General & Artistic Director [email protected] Piper Gunnarson, Executive Director [email protected] Pooja Saha, Development Manager [email protected] Emily Barber, Production Manager [email protected] Bowie Dunwoody, Marketing Manager [email protected] may also enjoy our reviews of The On Site Opera presents Puccini's Il Tabarro, MasterVoices presents Iolanthe at Carnegie Hall, the Art Bath Salon Series, and Madama Butterfly at Lincoln Center. https://www.youtube.com/watch?v=YuBeBjqKSGQ&t=31s

Rating  4.7/5 Tonight, the On Site Opera presented excerpts from W. A. Mozart's The Magic Flute in the West Side Community Garden at 123 West 89th Street, New York as part of their Opera in the Garden series. It was a delightful evening of gentle breezes, beautiful gardens, warbling birds, and a coterie of world-class musicians presenting the brilliant and charming musical delights and mysteries that have enchanted audiences since The Magic Flute's 1791 premiere. Producers thought of everything, and while tonight's works were sung in their original languages, audience members were provided with a QR code that provided live English language subtitles on their personal smartphones. L-R: Aaron Blake (Photo Dario Acosta), Joanna Vladyka (Photo JoannaVladyka.com) Maggie Finnegan (Photo MaggieFinneganSoprano.com), Cristina Maria Castro (Photo Rex Lott Photography), Mario Diaz Moresco (Photo MarioDiazMoresco.com). Soprano Cristina Maria Castro in a scene from The Magic Flute. Photo by Edward KliszusMozart's masterpiece Die Zauberflöte (The Magic Flute) portrays the escapades of Prince Tamino as he embarks on a journey to rescue Princess Pamina, the daughter of the Queen of the Night. A two-act opera, the story is replete with trials and interactions with mystical and fanciful beings.Narrator Eric Einhorn unfolded the story as a kindly grandfather might while reading to his grandchildren. Einhorn shared insights while fueling imagination and agency, unfolding The Magic Flute in its tale of love, heroism, and quest for truth and enlightenment. He intertwined fantastical elements, imagery, and the abiding power of music. Baritone Mario Diaz Moresco and Tenor Aaron Blake, in a scene from The Magic Flute. Photo by Edward KliszusChildren at the event were smiling and stirring to the musical strains. These moments created lasting memories that helped instill a lifelong love for the musical and dramatic arts and are evidence of On Site Opera’s stated mission of making opera more accessible to all. L-R: Soprano Maggie Finnegan, Baritone Mario Diaz Moresco, and Tenor Aaron Blake in a scene from The Magic Flute. Photo by Edward KliszusThe audience reveled in beautiful arias, sparkling scenes, and resplendent ensemble passages from the Pa-Pa-Pa-Papageno duet performed by Cristina Maria Castro and Mario Diaz Moresco to the transcendent Der Hölle Rache (Hell's vengeance boils in my heart) with its coloratura passages of splendid artistry performed by Maggie Finnegan as Queen of the Night. Aaron Blake as Tamino soared, captivating the audience with Wie stark ist nicht dein Zauberton (How strong is your magic tone!). Joana Vladyka stole hearts with Non so più cosa son (I do not know what I am, what do I do?). L-R: Mezzo-Soprano Joanna Vladyka and Soprano Maggie Finnegan in a scene from The Magic Flute. Photo by Edward KliszusTonight's Opera in the Garden On Site Opera production was a night of magical enchantment, charismatic strains, and sublime artistry. Moreover, the characters roamed about the garden and interacted with the audience, creating an intimate, immersive experience nearly impossible in a concert hall. With superb singing, a refined but effectual musical accompaniment of piano, and two accomplished flutists, listeners were transported to a mythical realm of captivating imagination and charm. The audience's experience was transformative, transcending into the boundaries of reality through engagement in the rich tapestry of the opera's narrative, characters, and music.ArtistsMaggie Finnegan, Queen of the Night/1st LadyCristina Maria Castro, Pamina/Papageno/2nd LadyJoanna Vladyka, 3rd LadyAaron Blake, TaminoMario Diaz Moresco, PapagenoEric Einhorn, NarrationCandace Chien, PianoGinevra Petrucci and John Rumeri, Flute and PiccoloON SITE OPERAPO Box 231480 New York, NY 10023 347-394-3050Be sure to pre-register for future performances as seating is limited. For information, donations, and tickets, go to https://osopera.org/Staff ContactsEric Einhorn, General & Artistic Director [email protected] Piper Gunnarson, Executive Director [email protected] Pooja Saha, Development Manager [email protected] Emily Barber, Production Manager [email protected] Bowie Dunwoody, Marketing Manager [email protected] may also enjoy our reviews of The On Site Opera presents Puccini's Il Tabarro, MasterVoices presents Iolanthe at Carnegie Hall, the Art Bath Salon Series, and Madama Butterfly at Lincoln Center. https://www.youtube.com/watch?v=YuBeBjqKSGQ&t=31s

Rating  4.7/5 Tonight, the On Site Opera presented excerpts from W. A. Mozart's The Magic Flute in the West Side Community Garden at 123 West 89th Street, New York as part of their Opera in the Garden series. It was a delightful evening of gentle breezes, beautiful gardens, warbling birds, and a coterie of world-class musicians presenting the brilliant and charming musical delights and mysteries that have enchanted audiences since The Magic Flute's 1791 premiere. Producers thought of everything, and while tonight's works were sung in their original languages, audience members were provided with a QR code that provided live English language subtitles on their personal smartphones. L-R: Aaron Blake (Photo Dario Acosta), Joanna Vladyka (Photo JoannaVladyka.com) Maggie Finnegan (Photo MaggieFinneganSoprano.com), Cristina Maria Castro (Photo Rex Lott Photography), Mario Diaz Moresco (Photo MarioDiazMoresco.com). Soprano Cristina Maria Castro in a scene from The Magic Flute. Photo by Edward KliszusMozart's masterpiece Die Zauberflöte (The Magic Flute) portrays the escapades of Prince Tamino as he embarks on a journey to rescue Princess Pamina, the daughter of the Queen of the Night. A two-act opera, the story is replete with trials and interactions with mystical and fanciful beings.Narrator Eric Einhorn unfolded the story as a kindly grandfather might while reading to his grandchildren. Einhorn shared insights while fueling imagination and agency, unfolding The Magic Flute in its tale of love, heroism, and quest for truth and enlightenment. He intertwined fantastical elements, imagery, and the abiding power of music. Baritone Mario Diaz Moresco and Tenor Aaron Blake, in a scene from The Magic Flute. Photo by Edward KliszusChildren at the event were smiling and stirring to the musical strains. These moments created lasting memories that helped instill a lifelong love for the musical and dramatic arts and are evidence of On Site Opera’s stated mission of making opera more accessible to all. L-R: Soprano Maggie Finnegan, Baritone Mario Diaz Moresco, and Tenor Aaron Blake in a scene from The Magic Flute. Photo by Edward KliszusThe audience reveled in beautiful arias, sparkling scenes, and resplendent ensemble passages from the Pa-Pa-Pa-Papageno duet performed by Cristina Maria Castro and Mario Diaz Moresco to the transcendent Der Hölle Rache (Hell's vengeance boils in my heart) with its coloratura passages of splendid artistry performed by Maggie Finnegan as Queen of the Night. Aaron Blake as Tamino soared, captivating the audience with Wie stark ist nicht dein Zauberton (How strong is your magic tone!). Joana Vladyka stole hearts with Non so più cosa son (I do not know what I am, what do I do?). L-R: Mezzo-Soprano Joanna Vladyka and Soprano Maggie Finnegan in a scene from The Magic Flute. Photo by Edward KliszusTonight's Opera in the Garden On Site Opera production was a night of magical enchantment, charismatic strains, and sublime artistry. Moreover, the characters roamed about the garden and interacted with the audience, creating an intimate, immersive experience nearly impossible in a concert hall. With superb singing, a refined but effectual musical accompaniment of piano, and two accomplished flutists, listeners were transported to a mythical realm of captivating imagination and charm. The audience's experience was transformative, transcending into the boundaries of reality through engagement in the rich tapestry of the opera's narrative, characters, and music.ArtistsMaggie Finnegan, Queen of the Night/1st LadyCristina Maria Castro, Pamina/Papageno/2nd LadyJoanna Vladyka, 3rd LadyAaron Blake, TaminoMario Diaz Moresco, PapagenoEric Einhorn, NarrationCandace Chien, PianoGinevra Petrucci and John Rumeri, Flute and PiccoloON SITE OPERAPO Box 231480 New York, NY 10023 347-394-3050Be sure to pre-register for future performances as seating is limited. For information, donations, and tickets, go to https://osopera.org/Staff ContactsEric Einhorn, General & Artistic Director [email protected] Piper Gunnarson, Executive Director [email protected] Pooja Saha, Development Manager [email protected] Emily Barber, Production Manager [email protected] Bowie Dunwoody, Marketing Manager [email protected] may also enjoy our reviews of The On Site Opera presents Puccini's Il Tabarro, MasterVoices presents Iolanthe at Carnegie Hall, the Art Bath Salon Series, and Madama Butterfly at Lincoln Center. https://www.youtube.com/watch?v=YuBeBjqKSGQ&t=31s