The Opera Tattler

* Notes *
Last month the Merola Opera Program filmed a series of pieces featuring the 2021 participants in the Herbst Theatre under the title Back Home: Through the Stage Door. Directed by David Paul, the 17 vignettes established a lovely warmth and intimacy.

The banter between bass-baritone Andrew Dwan (Presto) and tenor Gabriel Hernandez (Lacouf) in "Avec vous, vieux Lacouf" from Les mamelles de Tirésias was truly charming, they sang around pianist Anna Smigelskaya and had great chemistry.

I have a soft spot for local mezzo-soprano Nikola Printz and was so glad to hear them sing Sesto in "Son nata a lagrimar" from Giulio Cesare with fellow mezzo Jesse Mashburn as Cornelia. Printz also sang in two Mozart pieces "Ah, perdona al primo affetto" from La clemenza di Tito and "Pria di partir, oh Dio!" from Idomeneo, basically all my favorite repertoire.

Other highlights for me were soprano Catherine Goode being super creepy as the Lady with a Hand Mirror in Argento's Postcard from Morocco and soprano Celeste Morales singing Florence B. Price's "Hold fast to dreams." The latter gave me goosebumps, Morales has a beautiful, clear tone.

The finale of "Contessa perdono… Questo giorno di tormenti" from Le nozze di Figaro (pictured, photograph by Kristen Loken) was rousing. Baritone Laureano Quant is a fine Count, and soprano Mikayla Sager a very sympathetic Countess.

Tattling * 
My spouse caught me watching the end of this video on our television and noted that I even do standing room at home.

* Notes *
The Merola Grand Finale took place in person on July 31, with a filmed version released to donors on August 20. Directed by Merola Stage Director Audrey Chait, the performance at the Bandshell in Golden Gate Park looked and sounded delightful.

The recital featured five singers accompanied by two of the apprentice coaches on piano. Each piece was introduced by Ms. Chait, who seems personable and looked very sprightly in a bright red suit. I liked her stage direction which employed simple props such as a parasol or broom, it wasn't clunky or too elaborate.

My favorite singers are definitely the mezzo-sopranos. Right away Gabrielle Beteag (Ino) and Jesse Mashburn (Athamas) had my attention with the duet "You've undone me" from Händel's Semele. Mashburn's voice has a rich sweetness, and Beteag's is a touch darker but also wonderfully warm. Chait had them get uncomfortably close to each other at points, which was dramatically effective.

Mashburn was also great with bass-baritone Andrew Dwan (pictured with pianist Shiyu Tan, photograph by Kristen Loken) in "Ai capricci della sorte" from Rossini's L'Italiana in Algeri. Dwan is a good actor with a clear presence and good facial expressions.

Tenor Victor Cardamone may have been less charismatic, but his voice is beautiful, very strong and clear when singing "Au fond du temple saint" from Bizet's Les pêcheurs de perles with Dwan. I was less keen on the soprano, Catherine Goode, whose "Glitter and Be Gay" started off with an incisive shrillness but grew more bird-like as she continued. I did like her as Frasquita in "Mêlons! Coupons!" with the two mezzos.

The last piece of the recital was "Ah, sweet mystery of life" from Victor Herbert's Naughty Marietta, an operetta from 1910 that was made into a film in 1935. It brought me to tears for some reason, all the singers participated as pianist Anna Smigelskaya played, even pianist Shiyu Tan joined in the singing at the very end. Somehow it was unexpected but also apt, and I enjoyed the scattering of dark red rose petals that occurred three times throughout the song.

Tattling * 
Since this performance occurred outdoors, the singers all had discreet microphones attached to their heads.

* Notes *
Merola, San Francisco Opera‘s summer training program, had a first in-person performance (pictured, photograph by Kristen Loken) on July 3, with a filmed version released to donors on July 16. Curated by African American mezzo-soprano Ronnita Miller and Asian American tenor Nicholas Phan, the program — titled “What the Heart Desires” — features works by women and composers of color.

The recital consisted of six singers accompanied by the apprentice coaches on piano. Nearly all the songs were in English. The new crop of Merolini all have very powerful, clean voices.

Especially impressive is tenor Edward Graves, his soaring notes in Henry Thacker Burleigh’s “Among the Fuchsias” were imposing and his rendition of Undine Smith Moore’s “I want to die while you love me” was stirring. I also liked hearing baritone Laureano Quant again, he was in the program two years ago, and was the only low voice of the group here. He sang a piece he wrote himself, “Ahora hablo de gaitas,” Mohammed Fairouz’s “After The Revels,” and Viet Cuong’s O Do Not Love Too Long.”

Mezzo-soprano Gabrielle Beteag had much appeal in Ian Cusson‘s “Where There’s A Wall,” and pianist Shiyu Tan did will with all the percussive effects the piece requires. Soprano Celeste Morales both opened and closed the performance with vigor, beginning with Robert Owens’ “Havana Dreams” and ending the afternoon with Maria Grever’s “Jurame.”

Tattling * 
It was great to hear so many different composers that don’t normally get programed. That said, a few of the pieces did not do it for me, the text of Chen Yi’s “Bright Moonlight” sounded like a word salad while Stacy Garrop’s “What Can One Woman Do?” whose text is from Eleanor Roosevelt was rather declamatory as opposed to lyrical.