The concert by Musica Plenti on October 24, 2004 bearing the title “OperAlive!” was a complex, multi-faceted experience that cannot be easily categorized.
Of all types of musical expression opera elicits the widest spectrum of responses. There are those who love opera essentially for its wonderful display of the human voice and exciting occasions to hear the thrilling sounds a singer can produce in a great aria.
Others find in opera an incomparable blend of music with drama, capturing the deep experiences of life’s passions with an intensity no other medium can evoke.
Still others find a psychological penetration of the human heart and its complex interactions which only the subtleties of music can convey. To write just one great opera has often been the goal for many composers from Beethoven to Bizet.
For an audience a program of great moments in opera can therefore be a formidable challenge. For those who feel music intensely, each excerpt can often represent a supreme culmination of a deeply gripping moment which may occur once in a lifetime.
Musica Plenti’s skillfully designed program, given in the austere sanctuary of the Diamond Hill Methodist Church in Greenwich, Connecticut, bore all these factors in mind.
Grand opera is a departure from the group’s usual repertoire. This intimate vocal chamber ensemble has currently 13 voices, accompanied usually only by a piano. It is a huge challenge for a small group to perform such music, much of which was written for super-human singers, a full symphony orchestra and an audience of thousands.
Obviously it requires considerable adjustment to translate this into a church setting before a local Sunday afternoon audience, not geared for a World Series event, but only expecting to hear some pleasant tunes.
The miracle was that it worked! The listener left the concert filled with genuine satisfaction, new perspectives and the feeling that, against all sensible logic, something truly significant had taken place.
Possibly the reason lay closer to human truths than we tend to heed in today’s super-hype commercial society. The important ingredients (aside from the singers’ significant skills and accomplishments) were their understanding, sincerity, enthusiasm and – above all – love for the music they performed. It was transmitted to all present, as the standing ovation which followed the concert bore witness.
To do justice to this program would require a listing of each member of the ensemble. Which is more important, to perform an outstanding solo or give expert support? Because the world has always gravitated to the former, this writer must mention first of all Robert Puleo, president of the group, its musical director and conductor, who designed the program, and its star tenor. He is, incidentally, a composer of extraordinary gifts and, although not represented as a composer on this concert, has produced for Musica Plenti works of notable significance. His singing grows in skill and quality each year as this program demonstrated.
Sopranos Natalie Cappiello Lucia and Katherine Humphrey outdid themselves in intensity and beauty of tone, as did Marsha Cirulli in her duet with Puleo. Mezzo-sopranos Jodi Maxner and Jacqueline Steiner demonstrated their sterling skills. What lingers long in memory was Steiner’s wonderful grasp of Carmen’s immanent death in the “Card Trio.” Steiner is an artist of great depth. Both Sylvia Corrigan, as Pamina in The Magic Flute and Martha Alward as Mercedes in Carmen rounded out the high quality of the women’s performances.
Among the men there were, of course, Puleo, singing his heart out, and Joseph Humphrey, Frank Paine, Richard Leslie, Rudra Tamm and Michael Hull all contributing to the overall vocal excellence.
Piano accompanist Justine Macurdy was in her element for a concert of opera, and her keen insight into the needs of the singers was constantly evident.
The program followed the traditional chronological pattern we accept today as normal. It began formally with Handel (the “Chorus of Enchanted Islanders” from Alcina), then entered the deeper realm of the heart with Mozart’s “Farewell Trio” from the first act of Cosí fan tutte. The magic of Mozart continued with the trio (sung in English) from the second act of The Magic Flute, “Must we two forever part?” and the “Voyagers’ Chorus” from Idomeneo.
“E grave il sacrifizio” from Verdi’s La Traviata provided a change of perspective with the dialogue between Violetta and the elder Germont, performed with poignant dignity and dramatic intensity by Mr. Leslie. This was followed by Rossini’s beautiful prayer from Moise, sung by the entire ensemble.
The brilliance of Bizet’s “Card Trio” from Carmen, with its haunting reference to Fate, introduced a new emotional dimension, as well as fantastic music, while Verdi’s profound love duet “Gia nella notte densa,” from Otello was a perfect foil.
The concert’s first half ended with the sextet from Lucia di Lammermoor, sung with the coherency and vitality only an ensemble that works together constantly as a chamber group can achieve.
Already the concert’s intensity was beginning to make its deep effect, but there was still more to come. After intermission the “Witches’ Chorus” from Verdi’s Macbeth, was followed by Ponchielli’s “Madre adorata” from La Gioconda, both creating a darker mood.
Gounod’s rousing “Soldiers’ Chorus” from Faust dispelled all melancholy, while the tender Madrigal from his Roméo et Juliette captured the lovers’ first meeting, bringing everything back to matters of the heart.
Deep-seated Sicilian jealously was evoked in the duet between Santuzza and Alfio, “Oh! Il Signore vi manda, compar Alfio,” from Mascagni’s Cavalleria Rusticana. Merry cynicism was introduced by the trio, “E bello, portentoso!” from Puccini’s Gianni Schicchi before concluding with the stirring melodies of the Polovtsian Dances from Borodin’s Prince Igor. This essentially orchestral piece was greatly enhanced by the addition of Robert Scrofani, guest pianist, playing a four-handed piano version of the score alongside Ms. Macurdy.
The choices of mood and their implications were beautifully chosen. It suffices to report that there are many exceptional talents in Musica Plenti, all of whom brought to their performances genuine artistry that gripped the heart. (To find out more about these artists, click on the Bios page of this website.)
As the final fillip, the ensemble sang for its encore “Libiamo,” the drinking song from La Traviata, and everyone went home with the happy knowledge that their cup had been well filled!
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