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In Mascagni "Marat," Grattacielo Triumphs over Adversity & Unveils Verismo with a Vengeance |
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by Bruce-Michael Gelbert | >> see bio |
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photo by Lisa Lohler
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| Teatro Grattacielo Music Director David Wroe |
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Pietro Mascagni's vehement and tonally colorful "Il Piccolo Marat" (1921), to Giovacchino Forzano's libretto, received an exciting North American premiere, in concert at Avery Fisher Hall on April 13, thanks to Teatro Grattacielo. The opera looks at the French Revolution gone awry, its ideals degenerating into tyranny and terror. Founding Executive and Artistic Director Duane D. Printz's plucky Grattacielo, specializing in the heated hyperrealism of late 19th century and early 20th century Italian verismo opera and celebrating its 15th anniversary, emerged triumphant, although three of its scheduled male leads withdrew from the performance, forcing their worthy replacements to learn punishing roles in just a few weeks.
The heroes of "Piccolo Marat" are a deposed prince, seeking to rescue his mother from certain doom; the tyrannical leader's niece, who falls in love with the aristocrat; a carpenter, who deplores that the boats he creates are used to send enemies of the Revolution to their deaths in the Loire; and a patriotic soldier, severely critical of the Revolution's louche ways, all pitted against a ruthless villain, known as l'Orco (the Ogre). Umberto Giordano's earlier "Andrea Chénier," set in the same period in French history, often came to mind, as another drama of heroism and love during a regime characterized by bloodthirsty mobs and kangaroo courts. The sound, though, which Music Director David Wroe and the Teatro Grattacielo Orchestra vividly realized, is as colorful as those used by Giacomo Puccini in the earlier "Fanciulla del West" and later "Turandot" and those in the palette of Nikolai Rimsky-Korsakov. The reverent a cappella opening prayer, fervently sung by Cantori New York and Long Island University Chorus, under Mark Shapiro, is pure Mascagni, echoing the "Regina Coeli" from "Cavalleria Rusticana" and Hymn of the Sun from "Iris," and is juxtaposed immediately with the tempestuous roar of the Terror.
Making a valiant showing as the disguised Prince of Fleury, who earns l'Orco's trust as the Revolution's Piccolo Marat (little Marat), tenor Richard Crawley, substituting for Arnold Rawls, introduced himself in a heroic solo as he berated the menacing crowd; joined soprano Paula Delligatti's lyrical Mariella in an impassioned romantic scene; and, the model of filial devotion, had a touching moment with mezzo-soprano Elizabeth Batton as the Princess, his mother. Crawley's Marat and Delligatti's Mariella bravely confronted and subdued bass Brian Jauhiainen's gruff Orco in the rousing finale. The bass was deputizing for the announced Michael Ventura. Baritone Daniel Ihn-Kyu Lee, filling in for Andrew Oakden as the carpenter, lyrically reminisced with Delligatti's heroine about a more peaceful time and, in contrast, displayed dramatic tone in his scheduled assignment as the thief, one of the principals presiding over the kangaroo court. Joshua Benaim, singing in a polished baritone, engaged in gripping exchanges with Jauhiainen's tyrant about his corrupt methods of governing and exercising control, until the latter succeeded in turning the violent mob against him. It was Lee's shipbuilder that ultimately bested the tyrant, slaying him and rescuing the prince, whom l'Orco had shot and wounded.
Nelson Martinez, Stefanos Koroneos, Alfred Barclift, Christopher Herbert and Hugo Vera made significant contributions in supporting roles.
During intermission, Director Printz and I discussed forthcoming repertory for Grattacielo. Her hope is for two performances next season, one at Avery Fisher and one at Alice Tully Hall, and operas we mentioned included Riccardo Zandonai's "Giulietta e Romeo" and "Francesca da Rimini" and Ottorino Respighi's "La Fiamma"-her wish list-and Mascagni's "Iris" and "Lodoletta"-this writer's suggestions.
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