Tag Archives: Opera Maine

Opera Maine “Marriage of Figaro” Will Surprise

Opera Maine “Marriage of Figaro”

Mozart at his most mischievous is a good characterization of “The Marriage of Figaro,” to be presented July 25 and 27 by Opera Maine at Merrill Auditorium.

The composer must have jumped at the chance to paint musical portraits of a count and countess, the cunning barber (of Seville), a horny teenager (himself?) a silly girl, a conniving doctor and an unconventional young woman, all wrapped up in a bawdy tale that had to be cleaned up a little to pass the Viennese censors. (The libretto is based on a popular play by Beaumarchais, adapted by Lorenzo DaPonte.)

The combination of aristocracy, romance, humor and great music has made The Marriage of Figaro” one of the ten most popular operas of all time.

Opera Maine artistic director Dona D. Vaughn finds it relevant in the “me too,” age, when men still use wealth and authority in an attempt to control women like Susanna (Figaro’s bride to be). “You often hear ‘I was afraid to speak up,’ but Susanna isn’t afraid at all.” She outfoxes Count Almaviva, who is trying to cheat on the Countess and assert his droit de seigneur before the wedding.

Vaughn likens the play to an Alice-in-Wonderland world, where anything can happen. It makes it possible for the music to range from heart-breaking to farcical without missing a beat.

“When we scheduled the opera (for the second time in 17 years), I thought ‘What have I done?’ but every time you produce it you find something different. Several of the cast and our conductor, Stephen Lord, have done it before, and everyone has an idea of how it should go. The result is a collaborative effort, and something new.

As usual, Vaughn has some surprises in store. They are not in the role of Susanna—she has portrayed strong women before—but in the setting. Originally staged in Count Almaviva’s palace not far from Seville, in the18th Century, the Marriage will take place in a lavish country manor, in a different country, around 1900, when class distinctions were more evident, and all sorts of eccentricities were tolerated: “You can do anything you like here, just don’t do it in the yard and scare the horses.”

Props lent by the Victoria Mansion will provide period authenticity.

Vaughn is enthusiastic about this year’s cast, which includes several who have sung at the Metropolitan Opera and other world-famous venues, plus others who are on the cusp of major careers.

Keith Phares will perform the role of Count Almaviva and soprano Danielle Pastin is the Countess. Returning to perform with Opera Maine are tenor Robert Brubaker as Basilio, baritone Robert Mellon as Figaro, and soprano Maeve Höglund as Susanna. Mezzo-soprano Hongni Wu joins the cast having just won the Metropolitan Council Auditions. Also featured are soprano MaryAnn McCormick as Marcellina, and bass Kevin Glavin as Bartolo.

The opera will be sung in Italian, with supertitles in English.

In another current production by Opera Maine, mezzo-soprano Raehann Bryce-Davis leads the cast of Jake Heggie’s “Three Decembers,” which also features Studio Artists soprano Symone Harcum, and tenor Yazid Gray. This opera was composed in 2008 with librettist Gene Scheer. Set in the Decembers of 1986, 1996, and 2006, the 90-minute opera tells the story of a famous stage actress, Madeline Mitchell, and her two adult children, Beatrice and Charlie, as they struggle to know and love one another.

“Three Decembers” can be heard Friday, July 13 at Deertrees Theater, Harrison; Sunday, July 15 at The Temple, Ocean Park; and Monday, July 16, at Camden Opera House.

A Study in Contrasts, Soprano Kate Aldrich

Mezzo-Soprano Kate Aldrich
Hannaford Hall
May 13, 2017
by Christopher Hyde

Mezzo-soprano Kate Aldrich strode on stage at Hannaford Hall Saturday night, wearing a spectacular red dress, and proceeded to sing of love, death and suicide.

Germanic weltschmertz was appropriate for a singer who has made “Werther” her own, but the significance of the dress was revealed only in the second half of the concert, when she offered up a gloriously sultry version of the Habanera from “Carmen.” another signature role, which she sang at PORTopera (now Opera Maine) in 2005 and at the Met in 2010.

The contrast exemplified the singer’s extraordinary versatility, from Richard Srauss’ schadenfreude to Leonard Bernstein’s cleverness—in the little-known aria “What a Movie” from, “Trouble in Tahiti” (1952)— and a contemporary art-and-philosophy monolog from “Master Class” by Jake Heggie (2007). Both sketches also revealed her considerable acting talent.

She demonstrated a formidable coloratura in virtuoso arias by Rossini: “Riedi al Soglio” from “Zelmira” and the encore “Una Voce Poco Fa,” from “The Barber of Seville.” One can visualize a Rossini diva begging on her knees for such a display piece from the master. A friend aptly compared Aldrich’s fluidity in these to the elaborate and often improvised ornamentation of Chopin’s piano scores.

While I dearly love Strauss’ compositions on the theme of eros and thanatos, I came to the concert to hear the songs of Berlioz, whose small output in the genre is one of the towering landmarks of classical music. (Perhaps his pathetic portrayal of flowery drowning in “La Mort d’ophelia” influenced Strauss.)

One of my treasured vinyl recordings is the Berlioz song cycle “Les Nuits D’été,” sung by Eleanor Steber. Aldrich’s evocations of “The Captive,” and “Zaide” were its equal in every way. I wish I could hear her sing “L’Isle Inconnue,” the finest musical portrait of sailing ever written.

Speaking of sailing, Maine makes much of its artistic sons and daughters, out of a sort of provincial chauvinism. This is true of Aldrich, who was born in Damariscotta, but she doesn’t need any special dispensation. She might equally well have been born in Paris or Vienna. Her talent transcends borders.

Her accompanist, Martin Perry, born in California, also makes his home in Maine, but is in demand everywhere. HIs work seems to bring out the best in any singer, setting the stage perfectly, without dictating a note. Perry is also a genius at piano solo, to which anyone hearing his performance of the Samuel Barber piano concerto with the PSO can testify.

The Aldrich concert is one of a series of events leading up to Opera Maine’s performance of “La Traviata,” July 26 and 28. The next will be a gala celebration at Westin Portland Harborview on June 8.

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@netscape.net.