Menotti: The Saint of Bleeker Street

While I'm aware there's a good number of folk who despise the music of Gian Carlo Menotti, I'm going ahead with this post anyway.

I recently re-watched the old telecast of "The Saint of Bleeker Street" from City Opera and found myself sitting in a puddle of tears throughout. A friend told me it was "too manipulative." Too manipulative? Perhaps, but cannot the same thing be said of not only many operas, but of art and music in general? These are not presented as "facts" but as a story told by a particular storyteller who invites us (and yes, manipulates) us into trying to see things as he or she does. I think a willingness to be manipulated is part of the agreement we make whenever we enter an opera house, theatre or museum.

Menotti's "simple story" is in truth, no such thing; its layers peeling back like an onion revealing more and more. Here we are confronted with a tale of fanaticism, the quest and questions for a spiritual journey, a community, an abiding friendship, misunderstanding, loyalty, jealousy, murder, poverty, and ultimately hope. All of this hits us full force, and clearly, yet in the end Menotti leaves more room for discussion, as the opera's many questions left unresolved (except to Annina herself, who cannot tell us).

I find Menotti's score for "Saint" to be his most beautiful and musically, one of the finest of the mid-20th century operas, Yet, still it is frequently dismissed as "warmed over Puccini," while nothing could be further from the truth. I'd say Menotti puts as much Alban Berg into his score as he does Puccini, but ultimately speaks here in a voice that, is distinguished and clearly very much his own. He understands (and relishes) the relationship between dissonance and consonance and (when needed) unafraid to tug at our heartstrings for those who, like myself, welcome having them so tugged. It is obvious that he is writing from love and passion as well as from skill. In this work, his writing for strings rivals (and in some ways is similar to) that of Sibelius or Tchaikovsky. The tension of the string movements in the opening recalling a certain, more celebrated work by Mr. Barber. While giving us much to ponder, the long-phrased melodies for both orchestra and singers, can go directly to the heart (as my favorite opera composers can do) causing us both to think and feel simultaneously with the ability to overpower more than one sense at a time.

The writing for chorus in this opera is majestic and powerful. Ingeniously, Menotti's libretto never places this cathedral-like music in a vaulted church setting, but rather in a cold water flat, adding yet another dimension of thought . . . another layer of palpable emotion.

The opera is packed with marvelous arias: Annina's opening Stigmata aria; Michele's "I know that you all hate me"; Desideria's big aria, all dotted between numerous duets and ariosi and ensembles. The scenes of loyalty and friendship, the gentle caring between the Annina and Carmela particularly unforgettable. There is the intermezzo between the 2 scenes of Act I, which serves as a sort-of postlue to Don Marco's remarkable arioso . . . this is powerful, thought-provoking and yes, formidable stuff. Menotti's second big intermezzo joining the 2 scenes of Act III is of such haunting beauty it could stand alone as a concert piece. I find it difficult to comprehend why this opera is so seldom performed. How fortunate I was to attend several performances at Washington Opera back in the 80's, in a stunning performance directed by the composer himself, a production mounted in honor of his 80th birthday. Remarkable.

City Opera was blssed to have Catherine Malfitano and Diana Soviero, as Annina and Carmela; each giving a performance nothing short of amazing. Malfitano, while a bit strained at some moments handles the music skillfully and theatrically, well, she is devastating. No less devastating is the performance of Soviero, who turns a secondary role into a virtual tour-de-force; caressing each note with tenderness and emotion. As Annina's protective best friend, Soviero seems the one person who best understands Annina's desires. Even when wordless, kneeling beside her friend's chair - Soviero's face radiates an ecstasy that transcends words, mirroring the mystical Annina's faith as she embraces, and welcomes death. We watch her, cradling with love, her friend's lifeless body, suppressing her sobs as she lifts Annina's arm to accept the ring of faith. At this moment, Carmela's situation is more heartbreaking than her friend's death because we identify immediately with her grief. This is great opera. This is great theatre.


A little while after I came back down to earth, and dried my eyes, I decided to play a bit more of Mr. Menotti's music. pulled out some more music of Menotti; the Piano Concerto (a scintillating performance by Earl Wilde). It belongs in a category with Prokofiev, Barber and Poulenc. With its Scarlatti and Bach like polyphony it requires both bravura and charm, and would offer a nimble fingered pianist - something unusual and rarely played. I think audiences would eat it up. Lord knows, I'd prefer hearing it once in a while as an alternative to yet another performance of Brahms or Rachmaninoff.

Of all Menotti's operas, I think "The Saint of Bleecker Street" is most deserving of (finally) getting mounted at the Met. Even though conceived for The Broadway Theatre (where it ran for 92 straight performances), it's a grand work and deserving of the first rate treatment (and an HD performance). I already have a cast in mind!

New Opera Discovery (Parody)

17 September 2008
United Press International
Mozambique

A previously unknown manuscript by the American composer John Cage was discovered Tuesday morning at the Biblioteca Nacional de Mocambique. During a routine maintenance check in the facility’s basement, a shelf was discovered to have broken spilling the contents of a small box onto the floor. The contents were picked up by Biblioteca employee Xavier Jamis a custodian at the main facility. Mr. Jamis gathered the papers together and brought them to the attention of Biblioteca Nacional de Mocambique’s General Director, Cabo Delagado, the country’s most respected scholar of late 20th century American serialism. Although no name was initially found with the manuscript, Director Delagado recognized immediately the handwriting as that of Mr. Cage and alerted the press as to the remarkable findings by the library’s janitor.

A quick perusal of the manuscript revealed the work to be in a genre rarely approached by Mr. Cage: an opera. Titled “The Bee” it is based on an unpublished screenplay of the same name by little known science fiction/horror author, Ahdam Baum a one-time resident of Mozambique of unknown extraction.

The Bee is set in the 1950’s and centers on the relationship between the beautiful young mystery writer, Armonia Mundi and her paramour, scientist and genius, Barry Bumble - youngest recipient of the Prix du Einstein. In a coincidence eerily relevant to one occurring today, Bumble foresees the major – and unexplained – world wide disappearance of communities of honey bees in the 21st century the results of which are both far reaching and disastrous.

Questioned by his lover as how he could possibly predict such an event with such certainty, Bumble reveals his long hidden secret project: a time traveling beehive. To convince her, of the future’s horros, Bumble tricks Mundi into ingesting the very special honey from the bees of this particular hive. The effect of the honey causes the couple to shink – painfully and slowly, their bodies contract and ooze until they “evolve” into bees themselves. The first act ends as the couple – borne on a prism from a window hanging crystal, enter Vall-Hiva.

The ensuing two acts find the couple time traveling between the mid 20th early 21st centuries in a desperate attempt to discover the cause of the nature bee disappearances. Is it borne of nature? Of man? During one of their time travels Bumble becomes stuck in the honey and unable to morph into his human body, becoming, in essence, an enormous bee. Neither entirely man, nor entirely insect, he dubs his new self: “Bumblebee.”

The work shows Cage in an unusually lyrical mode, his expansive orchestration calling for, in addition to a normal-sized symphonic orchestra, a battery of 16 prepared pianos, eight tape recording machines, a high school marching band,
boy choir and two ondes martinots and Theramin.

In an unprecedented move Mozambique’s national opera company, Opera l’Mozambique Nacionale, will be presenting the world premiere of The Bee in a season devoted entirely to operas about wildlife; Janacek’s The Cunning Little
Vixen; Tobias Picker’s “Fantastic Mr. Fox”; Stravinsky’s delightful “Le Rossignol” provides the meat to a sandwich of one acts, bookended by Jorge Martin’s “Tobermory” and “Sredni Vashtar.” The season ends with a controversial new staging of Puccini’s Madama Butterfly by famed zoologist Joan Embrey of the San Diego Zoo, making her directorial debut.

Noticeably missing from the announced repertoire is the recent opera “The Fly” by Howard Shore. Hearing about this season of unusually themed operas in a venue far removed from the operatic centres of the world, Mr. Shore and the
director of the world premiere of his opera, David Cronenberg offered to bring the production to Mozambique at no cost to the company. When asked why he declined, Opera l’Mozambique’s Artistic Director, Mbuzini Maccccccccccccaco responded“Both as a nation – and as a budding artistic venture, we are poor, struggling and still learning. Even so, we are neither that desperate nor are we idiots.”

Alfan's "Sakuntala" Finally

(From my review previously posted February/2006)

For years I’ve heard snippets (some long, some not so) of the work, and looked for a complete recording in vain. No more.

There is so much Debussy and Strauss influence in the score it’s almost not “Italian” sounding! Quite simply, Alfano’s instrumentation and use of color is nothing less than remarkable and gorgeous - exotic. One definitely can hear where Puccini got some of his ideas for Turandot here. (Similarly, part of the long first act duet between the King and
Sakuntala is strongly reminiscent of what Alfano would do in Turandot’s finale). That first act duet between the lovers is nearly Tristan length and Alfano never seems to run out of ideas.

There’s a moment or two toward the beginning of Act II which sounds like where Philip Glass seems to have gotten his best ideas, as well!

In the second act Sakuntala has an enormous, 9 minute voice busting aria that is just breathtaking as it segues into the next scene. Holy Moley, this is a BIG sing.

Alfano’s vocal writing here is far different than Puccini’s - longer phrases, more Wagnerian-style parlando (but not Wagnerian sounding - at all).

A dance/ballet opens the final act that (very) strongly recall’s Strauss.

(Side note: I believe those who’ve enjoyed Enescu’s Oedipe will find much to enjoy here.)

This performance was from 1979. The principal roles are sung by:

Sakuntala - Celestina Casapietra
The King - Michele Molese (anyone remember him from City Opera?!)
Kanva - Aurio Tomicich
with the RAI Symphony and Chorus conducted by Ottavio Ziino.

Casapietra is unknown to me. I would have liked a juicier, firmer voice but she handles the difficult high music quite well and sings with a lot of feeling. The lower voice can be a bit shaky (often) with a hollow quality that isn’t particularly lovely. The third act goes much better for her with the top notes opening up in a way they hadn’t earlier and that is quite thrilling (except for one squally high C, unfortunately on the word “orror!). Again, her commitment shows and that’s an important thing in this work.

Molese starts off just a wee bit thin, but within minutes the voice takes on a rich bloom and his voice past the passagio is often thrilling. Like Casapietra he sings the music with conviction and the two of them almost seem to get carried away by Alfano’s sumptuous outpourings.

The final scene looks so much to the final bars to what he composed for Turandot that no doubt can be left who’s ideas closed that opera.

Though the sound is not flawless (there appears to be some bleed through in spots which I’m guessing stem from the original tape source) it is more than good enough to convey the sense of wonder Alfano infuses through much of the work.

I really couldn’t be more pleased to have discovered this, and as ever: Bravo, Alfano!

THC's Wretched "The Bible"

What a dreadful, awful thing this is. I couldn't believe the amount of money spent on this (produced by Surivor creator Mark Burnett), hunk of junk.

Oddly enough it begins with Noah and his family in their enormous, but awfully leaky ark, filled lions and tigers and bears (oh my!), as the wizened old geezer recites the creation story as they toss and turn. Perhaps trying not to upset "non-believers" the entirety of Creation is passed over in roughly 90 seconds, including the creation of Adam and Eve, their downfall, and Cain killing Able.

The entire cast appears culled from the British Isles (though this is an American made-produced product) with accents from all over the realm. Moses, for instance, has such a heavy Scottish brogue he could replace Gameskeeper Willie on "The Simpsons." The children,(all blonde or sandy haired moppets) each sound as though auditioning for the musical "Oliver." As Abraham prepares to sacrifice Isaac, the boy says, "Fatha, Oye see the sticks, but wha's the lamb," I fully expected to hear, "Howdy govnuh, cheerio 'n all that."

I found it offensive that the principal "good" characters, Noah, Moses, Jesus (who shows up with a pair of shit-kicking warrior angels: one Chinese and one African) to warn Abraham about Sodom's destruction), Miriam, et al., all are very white, fairhaired, etc., while the only characters who look remotely like the people from the region these stories occurred, are (natch) the bad guys, including Pharaoh, Hagar (with tattooed face) and Lot's wife (and what a miserable shrew they make her out to be).

In the long and pivotal role of Moses, they've cast an actor who is so absolutely, remarkably horrible his name is nowhere to be found on the internet: not even IMDB lists him in the cast. Moses. Really? You went with this guy?
The script is abysmal and in no consistent style, sort of veering off from Shakespearen "ancient talk" to modern English, with a (very) heavy predisposition to over pronouncing names like Aaron, and Isaac with almost a mingling of French and Middle Eastern accents. Weird.

The settings do look great (no expense being spared evidently) and the violence is right on the money; bloody, horrific and, in the case of ancient Egypt, continual. I was left wondering how anything got done by these poor half-starved emaciated slaves who were being whipped not only nonstop but almost literally to death,

It really is a dreadful, awful thing.