Gilbert and Sullivan Come to Salon Series

by Kathryn Bumpass

June 30th Opera San Luis Obispo will present its fourth salon recital, a program of favorite numbers from eleven Gilbert and Sullivan operettas, performed by Opera A La Carte. The group celebrates its 43rd year as America's oldest nationally touring G&S repertory company. OperaSLO Artistic Director Brian Asher Alhadeff became acquainted with the group in 2003 when he conducted a production of The Mikado for Opera Pasadena. The director for that production was Mark Goldstein, a principal member of Opera A La Carte. He also met Richard Sheldon, the group's founder.

Now Maestro Alhadeff brings this company to San Luis Obispo. When I recently asked him what was especially interesting about Opera ALa Carte, he replied "The special sparkle of Opera ALa Carte begins with its founder Richard Sheldon. Richard is a delightful English man and noted G&S scholar, known for producing an authentic style. When I work with him I know I'm receiving the unwritten traditions and customs directly linked to the original source."

The continuing popularity of Gilbert and Sullivan is remarkable given how far removed our present day American society is from the one satirized in these operettas. Maestro Alhadeff attributes this in part to the United States' historical connections to Britain and our shared language. Interestingly, he finds connections between Gilbert and Sullivan and contemporary comedy. "The humor of G&S is a recognizable early link in English comedy to successes like Benny Hill, Monty Python, Wallace and Gromit, and The Office to name a few."

Artistic Director Alhadeff developed the salon recital concept for OperaSLO to offer a more intimate opera experience to existing opera lovers and as a tool for attracting new opera friends. "The salon recital is lighter than a full opera performance and gives both opera devotees and inquiring new people a chance to preview the experience of this great art form." Further, "Salon patrons have a unique opportunity to mingle with the artists, opera fans, and OperaSLO board of directors."

He noted further the importance of showcasing OperaSLO as a local artistic enterprise.  "Framed in a beautiful salon room of an elegant hotel, home or winery, each recital brings our audiences closer to the world of opera, closer to the sound of the voice, closer to the expressiveness of the artists, and closer to San Luis Obispo's rich cultural life."

The Gilbert and Sullivan salon will take place at the Tolosa winery Saturday June 30, 6:00 – 8:00pm. Tickets are $75 per person and may be purchased at OperaSLO's website or by calling the office at 805.541.5369. Hors d'oeuvres and wine will be served at intermission and the post-recital reception.

Cuesta Master Chorale's St. Matthew Passion — An Appreciation

The Cuesta Master Chorale performed JS Bach's Passion according to St. Matthew on Saturday, May 12. In many ways the Passion can be considered a sacred opera. It is a massive work, employing double orchestra, double choir, a separate small ensemble, and six soloists. Its length rivals that of an opera and includes many features of opera, such as recitatives and arias.  Bach assigned specific functions to the various types of music he used in the Passion.

The actual telling of the story from Matthew's Gospel is sung in recitative, mainly by the Evangelist, the narrator. The words of Jesus are sung by a bass in recitative and arioso. Christopher Cock sang the demanding role of the Evangelist splendidly, and bass-baritone Steve Pence rendered the words of Jesus in arioso style with calm authority and exquisite lyricism.

The four separate soloists included soprano Elisa Johnston, mezzo soprano Susan Azaret Davies, tenor Daniel Chaney, and bass Daniel Eifert.   Maestro Thomas Davies' choice of these soloists was unerring. They sang fully developed arias (with preceding recitatives) in the style of 18th century opera, with expressive melodies and ornamentation.

Most of the arias were in full or abbreviated da capo form, a type of ABA song form, commonly used in operas of Bach's day. The arias are meditations on Jesus' suffering as seen by the individual Christian, and their texts are non-Biblical poetry.

The chorus sings a few complicated contrapuntal pieces and many chorales, or German hymns. The texts of the large contrapuntal pieces are a mixture of non-Biblical poetry and verses from the chorales. The two choirs also interject dramatic comments at key points. Their roles are primarily those of observer and the voice of the Church. The choruses and small ensemble sang very well in fulfilling those roles.

Kudos likewise go to the orchestra players, many of whom had difficult parts accompanying the arias, particularly oboes/English horns, flutes, cellos, and violins. The basso continuo or accompaniment part was played a small group of instruments within each orchestra, performing on organ, harpsichord, double bass and bassoon. These accompaniments require real artistry in order to coordinate smoothly with the Evangelist and soloists, and give vivid expression to the recitatives.

I must also compliment Alyson McLamore for her excellent program notes. She gave insightful comments on the historical and analytical features of the Passion, which aided the listener in understanding the complexities of the work.

Ultimate appreciation goes to Maestro Thomas Davies for his undertaking of this difficult, complex work. The Passion is an iconic work and a personal favorite of mine. We do not get to hear it live very often, precisely because it is a difficult and complex work, and not just musically. Masterful coordination is required to arrange for all the forces required to do a performance. Most important, of course, is the musical coordination of such a large group, and Maestro Davies commanded his forces superbly, with authority and with uncommon musical understanding. We owe him heartfelt appreciation for this gift of the St. Matthew Passion.