The Opera Tattler

Ensemble Parallèle's The Great Gatsby

* Notes *
A chamber version of John Harbison's The Great Gatsby (Act II, Scene 3 with Marco Pannucio, Susannah Biller, Julienne Walker, Jason Detwiler, and Daniel Snyder pictured right; photograph by Steve DiBartolomeo) from Ensemble Parallèle opened last night at the Yerba Buena Center for the Arts in San Francisco. The ambitious reorchestration was undertaken by composer Jacques Desjardins, using 30 musicians instead of 80, and will be presented at the Aspen Music Festival this August. The opera has been cut down to 2 hours and 10 minutes, but does not seem rushed or undescriptive.

The music is rather difficult, and conductor Nicole Paiement had kept everyone together, at least for the most part. Director Brian Staufenbiel put forth a bold production, employing much videography and period dance. The many scene changes were smooth, and there were only a few odd moments, notably between Act I Scenes 1 and 2, and in Act II Scenes 5 and 6. One can appreciate how challenging it is to put forth this familiar story that has been visually represented in more than one film. Matthew Antaky's set is stylish, but at times the singers seemed rather far upstage, and this effected how well they could be heard.

The cast is strong, featuring those who can both act and sing. The diction was all perfectly comprehensible. Mark Robinson and Carrie Zhang had some of the simpler, lyrical music as Radio/Band and Tango Singers. Erin Neff and Bojan Knežević made fine contributions as Myrtle and George Wilson. Knežević was terrifying yet sympathetic when Myrtle is killed. Julienne Walker (Jordan Baker) was a good foil for Susannah Biller (Daisy Buchanan), physically and vocally. Jason Dewiler made for a likeable Nick Carraway, ever patient as he observed. Daniel Snyder (Tom Buchanan) sounded a bit choked in the first half of the opera, but seemed in better voice after the intermission. In the title role, Marco Pannucio gave a heartfelt, but somewhat strained, performance. Susannah Biller sparkled as Daisy Buchanan, her bright sound had a certain lovely ease to it.

* Tattling * 
The woman in Row E Seat 106 arrived only a few minutes before curtain, and had to step over us to leave the hall after the opera's second scene. She returned between Act I Scenes 3 and 4, squeezing by and speaking to her date during the orchestral interlude.

Some men behind Row J of the Orchestra Right section talked loudly during Gatsby's final aria, and someone had to ask them to be quiet.

Ensemble Parallèle's Great Gatsby Rehearsal

* Notes *
Ensemble Parallèle held an open rehearsal of The Great Gatsby (Marco Panuccio as Jay Gatsby and Susannah Biller as Daisy Buchanan pictured left, photograph by Steve di Bartolomeo) at the Kanbar Performing Arts Center in San Francisco yesterday. The opera opens next Friday, and though the rehearsal process is always chaotic, the cast and crew have made great progress thus far. We heard and watched Act II, Scene 4; Act I, Scene 4; Act I, Scene 3; and Act II, Scene 2. Keisuke Nakogoshi accompanied the singers on piano. The chorus and many of the principal singers were present. Director Brian Staufenbiel worked out the staging and Maestra Nicole Paiement made sure the singers were on beat. As Staufenbiel focused on certain specifics, Paiement would address us, revealing that one of her favorite parts of the opera is when Gatsby and Nick meet in Act I, Scene 3.

After the rehearsal Susannah Biller, Jason Detwiler (Nick Carraway), Marco Panuccio, Daniel Snyder (Tom Buchannan), Julienne Walker (Jordan Baker), Jacques Desjardins, Staufenbiel, and Paiement answered questions about working on this opera. The work is cut, runs 2 hours and 10 minutes, and Paiement takes speedy tempi for the dialogue. All the cuts had to be approved by the composer, John Harbison.

* Tattling *
Some members of the audience whispered throughout, and a few cellular phones were heard.

Ensemble Parallèle's Great Gatsby Preview

* Notes *
A sneak preview of Ensemble Parallèle's next production, The Great Gatsby, was held at the San Francisco Conservatory of Music last week. Conductor Nicole Paiement took us through several musical examples with pianist Keisuke Nakogoshi and six of the cast members. Susannah Biller (pictured above as Daisy Buchanan, photograph by Rapt), Jason Detwiler (Nick Carraway), Marco Panuccio (Jay Gatsby), Erin Neff (Myrtle Wilson), Daniel Snyder (Tom Buchannan), and Julienne Walker (Jordan Baker) looked and sounded utterly comfortable, despite the fact that rehearsals had only started the day before.

Jacques Desjardins, who has re-orchestrated John Harbison's work for chamber orchestra, was on hand to speak about the challenges of this undertaking. The number of musicians has been taken from 120 down to 30. The music is brass heavy, and Desjardins has had to use woodwinds to make up for this in the chamber version. The harp part also presented an interesting problem, as the sound of the instrument is so particular.

Director Brian Staufenbiel also gave us a glimpse of the set design and the concepts behind some of the stage elements. His style seems to be stylized rather than descriptive. One does look forward to seeing and hearing the piece. Three performances are presented between Friday, February 10 to Sunday, February 12 at the Novellus Theatre, Yerba Buena Center for the Arts.

* Tattling *
There was light talking and some electronic noise.

BluePrint: North and South

* Notes *
The tenth season of the BluePrint project opened yesterday evening at the San Francisco Conservatory of Music. The concert started with John Harbison's North and South, with mezzo-soprano Julienne Walker. The New Music Ensemble sounded clear and together under the expert direction of Maestra Nicole Paiement (pictured left, photograph by Roger Steen). Walker's voice is steely but flexible. The songs are jazzy and accessible. This was followed by Kurt Rohde's rather charming Concertino for Solo Violin and Small Ensemble (2010). The soloist, Axel Strauss, played nimbly with the ensemble. The piece is humorous, and the movements are all aptly named.

Erwin Schulhoff's Concerto for Piano and Small Orchestra, Opus 43 was most impressive, especially the soloist, Keisuke Nakagoshi. The Allegro alla Jazz was played with vibrancy, and it was wonderful to hear how much fun everyone was having. The concert ended with an excerpt from Harbison's The Great Gatsby, arranged for chamber orchestra by Jacques Desjardins. The singers, mezzo-soprano Erin Neff as Myrtle and baritone Bojan Knezevic as Wilson, are both strong performers with beautiful voices. The duet they sang was semi-staged in that Neff fell to the ground, which struck me as slightly strange. Knezevic's accent was noticeable in words like "pretty" and "worrying," but he and Neff were easy to understand without looking at the text provided in the program. There certainly is much to look forward to in Ensemble Parallèle's production of the opera, which is scheduled for February 2012.

* Tattling * 
The audience was rather silent, only a few whispers and rustles were heard. During the ovation for the Rohde piece, I realized we had been seated next to the composer, and could not stop laughing over this. Two loud beeps were heard during the Alla marcia maestoso of the Schulhoff.

Ensemble Parallèle's 4 Saints in 3 Acts

* Notes *
Virgil Thomson's Four Saints in Three Acts (Maya Srinivasan, Eugene Brancoveanu, and Brooke Muñoz pictured right, photograph by Steve DiBartolomeo) opened in a new production from Ensemble Parallèle last night in San Francisco. The performances are a collaboration between Ensemble Parallèle and the San Francisco Museum of Modern Art, in association with the Yerba Buena Center for the Arts.

Maestra Nicole Paiement had her small orchestra, which included an accordion, under control. It seemed like it would be easy to lose one's place in the music, and the musicians held together well. Director Brian Staufenbiel put his own narrative atop Gertrude Stein's charming libretto. Staufenbiel certainly does not lack ambition or ideas, and in the end the structure probably helped keep some audience members awake and engaged. The scene changes were seamless, all the props were either on wires or wheels. Because the furniture could be spun around, this was done several times. This worked best when the saints enter for Act III on their chairs, a veritable chair ballet. The colors used for the costumes gave the production cohesion, lots of white, with pops of red, yellow, and to a lesser extent, blue. The choreography, from Michael Mohammed, was pleasing and often quite funny.

There was much beautiful singing. Commère Wendy Hillhouse and Compère John Bischoff had a good dynamic with each other. Hillhouse has exceptional diction, and Bischoff has a wonderful timbre. The saints all sang prettily. The duet between Maya Kherani (Saint Settlement) and J. Raymond Meyers (Saint Stephen) was oddly poignant. The parts with Saint Teresa I and Saint Teresa II were lovely, soprano Heidi Moss has a brilliant clarity and mezzo-soprano Kristen Choi a smooth warmth. Eugene Brancoveanu sang St. Ignatius with a full richness.

The evening began with a new piece by Luciano Chessa entitled A Heavenly Act. The piece uses words from Stein's libretto for Four Saints in Three Acts, as the version we were to hear later was cut significantly by Thomson. Chessa's work has interesting textures and the dance segment was jaunty. Some of the shrill pitches were challenging. The production featured Kalup Linzy, who sang with a microphone and created video projections involving angels and clouds.

* Tattling * 
The person in Row A Seat 104, only a few feet from the conductor, spoke freely during the first piece, and occasionally in the second. She spent a lot of time pointing and talked without regard to either playing or singing.

For some reason, ushers often assume I am in the wrong seat or the wrong section. Just before the performance one of the YBCA ushers tried to confront me about where I was, despite the fact that there was no one behind me, and that where the person she was seating was supposed to be.

Ensemble Parallèle's Orphée

* Notes *
Philip Glass' Orphée was performed impressively by Ensemble Parallèle last night in San Francisco. The 14 musicians sounded lush but clean under Maestra Nicole Paiement. Brian Staufenbiel's production involved rather stunning circus art, including Roue Cyr, aerialism, and juggling. However, the video art, especially in the beginning, did not quite work, and people even laughed at the repetition in the introduction. It was used sparingly, and the pleasing retro circus feel was certainly attractive. The vision was carried through all the way from start to finish and the acting was convincing from all sides.

The singing was all very strong. Aglaonice, sung by Brooke Muñoz, sounded sweet. Austin Kness sounded robust in his two roles as a policeman and commissaire. Thomas Glenn was haunting particularly as Cégeste, also singing the role of the Reporter. Philip Skinner (Poet/Judge) was threatening, as was appropriate. Susannah Biller was a characteristically brilliant Euridice. John Duykers (Heurtebise) sang with tenderness, and Marnie Breckenridge (the Princess) was alluring. Breckenridge sounded icy and pure. In the title role, Eugene Brancoveanu was most awe-inspiring, his voice is hearty and sympathetic.

* Tattling * 
The audience was fairly well-behaved, but for some reason, the circus artists brought out the worst in them. The women in G 111 and 112 of the orchestra level could not stop talking during Act II, and one of them insisted on clapping and screaming for the aerealist despite the music.

Marnie Breckenridge Interview

This weekend soprano Marnie Breckenridge (pictured left) will be singing the role of the Princess in Ensemble Parallèle's production of Orphée by Philip Glass. She will be singing in The Rape of Lucretia with Castleton Opera, which will be presented by Cal Performances in Berkeley next month. Last week, the Opera Tattler met with her in a practice room of the San Francisco Conservatory of Music between rehearsals.

You attended San Francisco Conservatory of Music, so welcome back! Are you from California?
Yes, though the Conservatory was on Ortega Street then. I grew up in Claremont, California, lived in San Francisco and Napa, but now I live in New York.

I see you have sung in English quite a bit, such as in Love and Other Demons, Candide, and The Rape of Lucretia. Orphée of course is in French, what are the challenges of not singing in your native language?
French was the first foreign language I studied, before I knew I was going to be an opera singer. It does feel different in the body than English.

How did you get the role of the Princess?
I was already singing with Nicole Paiement for the BluePrint Series, so Brian Staufenbiel asked me to audition for the Glass. I sang Juliette's Waltz, and I got the part. I've never sung Glass before but I'm absolutely loving the challenge.

I've seen some of the previews, and the production looks very exciting. Your character looks like a ringmaster in the videos that have been shown. Where have you been rehearsing?
We've been here at the conservatory, and rehearsing at a circus school too. We don't get into Herbst until the Wednesday before the opening. The performers in this production are incredible. The Roue Cyr artist, aerialist, and juggler are as much a part of this opera as the singers.

What was your first opera?
The first opera I sang in was Così fan tutte, and I was Despina.

Favorite opera?
I love all of Janáček's operas. Wozzeck and Der Rosenkavalier are also favorites.

Dream role?
Norma! I will probably never sing it, but I do sing it in the shower.

Who do you look up to?
The list is very long, and also, in a way, very short. Renée Fleming is amazingly consistent, and a nice person too. I admire Anna Netrebko, Angela Gheorghiu, Barbara Bonney, Kathleen Battle, but my all-time favorite is Leontyne Price.

How do you feel about live simulcasts?
As far as exposing opera to more people, it is really great. However, opera is a live art form, and you feel all the vibrations physically, so simulcasts do not recreate a full experience of it.

Do you feel pressure to be able to move and act well?
I have always been physically active, I danced ballet, jazz, and did gymnastics before deciding to become an opera singer. I've also acted, I was in ACT's summer training program. So I am coming to this from the other side, I've had to figure out how to move less! So I haven't felt that pressure.

Are there musicians in your family?
My mother plays piano, she also sang, and played organ at church.

Do you play an instrument?
I play piano. I played flute in band, but I didn't like the freezy brain feeling it give you.

What are your hobbies and interests?
I am interested improv, my husband is in a troupe. I go to art museums. I especially enjoy Monet, Manet, and Delacroix, but I also love trying to figure out more abstract paintings, like those of Jackson Pollock.

BluePrint: Riding the Elevator into the Sky

* Notes *
The ninth season of the BluePrint series at the San Francisco Conservatory of Music opened on Saturday night. The performance started with the West Coast premiere of Laura Schwendinger's Chiaroscuro Azzurro, which featured violinist Wei He. The New Music Ensemble sounded tightly together under conductor Nicole Paiement, whose every move seemed carefully noted by the musicians. Schwendinger's music ranged from ghostly to strident to meditative.

After intermission we got a bit of a preview of Ensemble Parallèle's forthcoming Orphée production, first in the form of the selections from the Orphée Suite, arranged for solo piano by Paul Barnes. Keisuke Nakogoshi played movements II, III, IV and VII. The playing was compelling, simply very beautiful. This was followed by the world premiere of David Conte's Sexton Songs, sung by soprano Marnie Breckenridge (pictured above, photograph by Michael Strickland) who is also singing in the aforementioned Orphée. Breckenridge was ill, and there may have been an ugly edge to her voice as a result, but she was arresting in these five poems by Anne Sexton set to music. Again the ensemble sounded clear and coherent.

* Tattling *
Since I sat next to John Marcher and behind SFMike, there is very little to tattle about as far as the audience. The audio system did misbehave and played during the Glass instead of just before the Conte.

Ensemble Parallèle's Upcoming Orphée

Ensemble Parallèle will perform Orphée, Philip Glass' opera based on the Jean Cocteau film, on February 26-27, 2011, at San Francisco's Herbst Theatre.

Read More

Review of Ensemble Parallèle's Wozzeck

* Notes *
John Rea's reorchestration of Wozzeck had a West Coast premiere last night in San Francisco. Ensemble Parallèle was both robust and focused under conductor Nicole Paiement. The 28 musicians produced a much sound, despite their small numbers, even overwhelming the singing on occasion. Brian Staufenbiel's production made artful use of video that eschewed, for the most part, the effect of an oversized screen saver. There were two instances of live video capture, one of the Hauptmann when he was being shaved and one of the Doktor when he was experimenting on Wozzeck. The latter came off as somewhat artificial, since there is no reason in the plot the Doktor is obliged to stand so still and face away from the person he is speaking to. The set was versatile and clean, essentially consisting only of two pieces that were rolled this way and that to suggest the many scenes.

The singers were uniformly strong. Along with nearly everyone else in the cast, bass John Bischoff sang heartily in the inn scene of Act II. AJ Glueckert was appropriately self-important as the Drum Major, and was convincing. Philip Skinner (the Doctor) and John Duykers (the Captain) expressed much through their faces in their aforementioned close-ups. Patricia Green was piercing as Marie, yet not unsympathetic as a character. In the title role, Bojan Knežević was quite disturbing, his voice is splendidly beautiful. He was able to emanate the despair and hopelessness of the character.

* Tattling * 
The audience uncommmonly well-behaved. There was no electronic noise, only a slight bit of whispering, and a few coughs. For 90 minutes in one go, it was rather remarkable.

Bojan Knežević as Wozzeck Video

Here is another video from Ensemble Parallèle's Wozzeck, with Bojan Knežević in the title role.

Official Site | YBCA

Ensemble Parallèle Wozzeck Video

Ensemble Parallèle's Wozzeck production involves both pre-recorded videos and live projections. The video above features Bojan Knežević, J. Raymond Meyers, and AJ Glueckert.

Official Site | YBCA

Ensemble Parallèle's Wozzeck Presentation

Ensemble Parallèle's Artistic Director and Founder Nicole Paiement is giving a musical presentation about Berg's Wozzeck and a behind the scenes glimpse of the upcoming production. Bojan Knezevic and AJ Glueckert will offer musical examples and director Brian Staufenbiel will be on hand for a question and answer session on staging concepts.

This event occurs on December 10 at 6:30 p.m. at San Francisco Conservatory of Music (50 Oak Street, San Francisco) and is followed by a reception. Seating is limited and responses will be counted on a first come, first served basis. One should contact Lucik Aprahamian at lucik25@gmail.com or by phone 831 252-0573.

Ensemble Parallèle's Wozzeck Preview

* Notes *
A reception and sneak peak of Ensemble Parallèle's forthcoming Wozzeck production was held in a private Richmond District home last night. The musical portion of the evening featured bass-baritone Bojan Knežević, who is singing the title role. Accompanied by Scott Foglesong on piano, he sang Leporello's "Catalogue" Aria from Don Giovanni and Alberich's Curse from Das Rheingold. The intimate setting was a bit intimidating for the audience, perhaps. Knežević has a gorgeous voice.

Nicole Paiement, the Artistic Director and Conductor of Ensemble Parallèle, gave a talk about Wozzeck and the 1995 reorchestration for 21 musicians from John Rea they are to perform at the end of January here at YBCA in San Francisco. She went through an entire dramatic and musical overview within half an hour, with a few musical examples. Her enthusiasm for this project is palpable. She had Rea's score in three volumes and encouraged audience members to take a look after her presentation.

* Tattling *
I had the great pleasure of being both being mistaken for and meeting the journalist Chloe Veltman. I also had the opportunity to chat with the Associate Director of Communications at San Francisco Opera, the stage director of this Wozzeck, the General Manager of the ensemble, Paiement, and Knežević.