On to 100!

"Jamming Talent" dancer on the steps of Music Hall following Cincinnati Opera 90th anniversary gala, June 19, 2010 (photo by Mary Ellyn Hutton)

Trust Cincinnati Opera to pull one out of a hat.

The Opera’s 90^th anniversary gala looked like it was down for the count a month or two ago, with a raft of cancellations precipitated by the withdrawal of conductor James Levine to undergo back surgery.  The latest cancellation was announced at the concert itself June 19 at Music Hall, soprano Hei Kyung Hong (though one wonders, since Hong dropped out of the Opera’s June 23 and 26 “Die Meistersinger” at least a month ago).

Trust Cincinnati Opera to wrap it in a big, bright ribbon, too.  Case in point:   Celebrity headliner Ryan Seacrest, who appeared onstage for less than five minutes before heading back to Los Angeles Saturday night, leaving many in the audience wondering why they never saw him again.  His name on the program undoubtedly boosted attendance, especially by the coveted under-40s, but the ballyhoo was far less than merited.  Let it be said, nonetheless, that the popular host of TV’s “American Idol” gave the gala a nice plug, ceding the show to the “400 artists and theater professionals” who took part.

“Dim the lights and here we go,” Seacrest said as he exited, to be followed by the concert’s real emcees, baritone Sherrill Milnes and soprano Carol Neblett.  Both are Opera alums, Milnes from the Cincinnati Zoo days during the 1960s, Neblett from the Opera’s first production at then newly renovated Music Hall in 1972, Boito’s “Mefistofele.”  They were a class act, providing introductions, choice anecdotes and context for the operatic selections.  The latter was crucial since there were no supertitles (English translations).  Titles would have added enormously to audience comprehension, especially for opera first-timers and relative novices, many no doubt drawn by Seacrest’s name on the marquee, who do not necessarily know what Cio-Cio San is singing in “Un bel di.”

The concert, conducted primarily by the very capable Edoardo Mueller leading the Cincinnati Symphony Orchestra (Cincinnati Opera’s irreplaceable performance partner for 90 years), comprised a set of mostly well known arias and choruses from mostly Italian opera.  Exceptions included soprano Christine Brewer’s “Dich, teure Halle” (“You, dear hall”) from Wagner’s “Tannhauser,” which led off the evening.  Clad in fire-engine red, soprano Christine Brewer sang this salute to Music Hall in a warm, high-powered voice to match.

There were arias from Friedrich von Flotow’s “Martha,” the Opera’s inaugural production at the Zoo in 1920, and representing French repertoire, Bizet’s “Carmen (of course) and Jacques Offenbach’s “Tales of Hoffman.”  Soprano Denyce Graves sang Richard Danielpour’s lovely, haunting “A Quality Love” from the Opera’s 2006 commissioned work “Margaret Garner.”  She shared the similarly haunting Card Trio from “Carmen” with sopranos Amita Prakash and Meghan Dewald.  The balance of the program was Verdi and Puccini, with the Intermezzo and Easter Hymn from Mascagni’s “La Cavalleria Rusticana” and the climactic duet “Vicino a te” from Giordano’s “Andrea Chenier” to top them off.

A big bright spot of the evening and a salute to Cincinnati Opera’s exemplary commitment to inclusion and diversity was the Allen Temple A.M.E. Church Combined Choir in a rousing “Done Made My Vow,” led by director Robert Gazaway.   Joining them in a surprise appearance was bass Morris Robinson, who reprised “His Eye is on the Sparrow” from an unforgettable “Opera Goes to Church” concert at Allen Temple A.M.E. Church in July, 2009.

Tenor Richard Leech added a touch of pop with “Be My Love” from the 1950 film, “The Toast of New Orleans,” sung in memory of Mario Lanza (an inspiration to Leech).  New York Pops conductor Steven Reineke took the baton here, as he did in “A Quality Love,” in an additional tribute to Cincinnati Pops conductor Erich Kunzel, who would have been one of the gala conductors had not death taken him last fall.  Kunzel made his Cincinnati Opera debut in 1966 in “Cavalleria Rusticana” and Leoncavallo’s “Pagliacci” with no less than soprano Martina Arroyo and tenor Placido Domingo in principal roles.

Arroyo, Domingo and Opera/Music Hall patron J. Ralph Corbett were seen in video excerpts screened between the musical numbers.  Arroyo sang her first Aida with Cincinnati Opera (1964). Domingo made his Cincinnati Opera debut as Don Jose in “Carmen” (1966).  Both recalled their Cincinnati experiences with affection and good humor, citing numerous instances of Zoo animals horning in on their singing at inopportune, but hilarious moments.

Another gala standout was tenor Russell Thomas, who not only stole “Nessun dorma” from Leech and tenor Gregory Turay, who joined him in a “Three Tenors” version, but gave Flotow’s “Ach, so fromm” a beauteous reading.  Soprano Angela Brown (Cilla in the Opera’s 2006 “Margaret Garner”) sang the show-stopping duet “Vicino a te” from “Andrea Chenier” with Leech, who remains a charismatic presence at Music Hall, though it may take more effort to fill it than in 1989, when he made hearts flutter in Gounod’s “Romeo and Juliet."

The Cincinnati Opera Chorus acquitted itself nicely in “Va pensiero” from Verdi’s “Nabucco” led by chorus master Henri Venanzi (beginning his 31^st season with the Opera).  The Chorus joined Brewer in Mascagni’s stirring “Easter Hymn” from “Cavalleria Rusticana” to end the first half.  They returned following intermission for the  Sextet from "Tales of Hoffman" with Thomas, mezzo-sopranos Stacey Rishoi and Catherine Keen, tenor Brendan Tuohy and basses Nathan Stark and David Michael.

Preceding the grand finale, the Triumphal Scene from Verdi’s “Aida” (what else?) was a tribute to Cincinnati arts patroness Louise Nippert, whose recent gift of $85 million to the CSO, Opera, May Festival and Ballet promises to keep those organizations healthy for the immediate future.  Mrs. Nippert, in her box as she unfailingly is, received a heartfelt, standing ovation from the crowd.

Dancers from the Ballet (with choreography by Devon Carney) graced the Triumphal Scene with lithe, energetic movement.  A massed chorus representing the Opera, May Festival and A.M.E. Temple Choir sang, flanked by four herald trumpeters, while Brown, Graves, Stark, Michael, baritone Norman Garrett, tenor Antonello Palombi and the  CSO led by Mueller brought the concert to a fittingly grand conclusion.

The ongoing controversy about “revitalizing” Music Hall was underscored by the David Centers' scenic design and Thomas Hase's lighting.  Music Hall was built in 1877 to be a choral festival hall and home to the Cincinnati May Festival.  As such, it has always needed “adjustment” for opera and especially symphony concerts.

Cincinnati Opera has found it a welcoming venue for grand opera since moving there in 1972, though less suited for smaller productions.  It was adapted for Saturday night's gala through “shadowbox” framing (an idea initiated by the Opera's former Opera artistic director Nicholas Muni).  The huge, ornate double proscenium arch was covered in black and a smaller frame superimposed onto it.  A second, still smaller frame was placed on the stage floor behind it and a pair of huge chandeliers suspended overhead to help draw the eye into the performance.

The two frames were lit from the inside with colors varying from one musical selection to another.  The back wall -- a rectangle that further created the illusion of a much smaller stage -- was lit to match and complement the colors projected through the double frames.  The effects were very beautiful, with a rainbow of colors employed.

The singers and chorus performed on black steps rising to the back wall, with a landing in the middle for the soloists and dancers.  A scrim separated the chorus from the three tenors during “Nessun dorma.”  A full moon, craters and all, was projected onto the back wall for several numbers, while others played out against a starry background.

Together It made for a practical, but breathtaking solution to the lack of intimacy between audience and performers that makes the 3,516-seat hall unsuitable for regular symphony concerts.  The alternative might have been to put the CSO onstage, as for May Festival concerts, but the illusion of staged opera would have been lost.

The hall was not sold out and appeared to be about three-quarters full, a disappointment for the Opera, no doubt, since it was a benefit.  The high cost of tickets likely kept some people away (including some known to this writer).  Admission to the concert itself was $35-$250 -- $500 and $700 for ticket, pre-concert dinner, after-party and valet parking -- with no “rush” or discount pricing. 

On to your 100^th Cincinnati Opera!