Courier Post

And here is another review, this time from the Courier Post:

Sweet, Glassman excel in McCarter 'Turandot'
By ROBERT BAXTER
Courier-Post Staff

The curtain barely rose on Puccini's Turandot before the audience that crowded McCarter Theatre knew they were in for a special afternoon of opera.

Conductor Steven Mosteller took the measure of Puccini's opulent score from the five crashing chords that launch the opera. Then Matthew Burns uttered the Mandarin's proclamation in a firm, resonant baritone.

From that impressive opening, the New Jersey Opera Theater's semi-staged Sunday concert performance took flight.

Interest focused on Sharon Sweet. The American soprano left opera nearly a decade ago when health issues ended her stage career. She returned in triumph in the murderous title role of the princess who beheads all of her royal suitors.

Sweet began cautiously in the strenuous aria that introduces Turandot. She took a lyrical approach to the aria... When the vocal line blossomed to high B and C, Sweet's soprano rang out powerfully.

She was even better in the final act. Now in full control of her voice, Sweet sang impressively, as did everyone else in the cast.

As the prince who melts Turandot's frozen heart, Alan Glassman sang with thrilling intensity. In the confrontation with Turandot in the riddle scene, Glassman hurled high Cs that cut through the orchestra and chorus. His incisive, full-toned tenor rang out powerfully, but also caressed the lyrical arias.

Barbara Shirvis made a touching Liu. Her silvery soprano soared through the slave girl's shimmering vocal lines. Raymond Aceto brought a firm bass voice and a noble stage presence to Timur.

The ministers Anton Belov (Ping), Jonathan Green (Pang) and Joel Sorensen (Pong) sang suavely. Belov's attractive baritone sounded impressive.

Mosteller shaped a model performance. He paced the music admirably and summoned assured playing from the Westfield Symphony Orchestra. The Mendelssohn Club of Philadelphia performed the big choral scenes with distinction.

Siff staged the opera. He clarified the action with spare but appropriate movements. Adding to the effect were Patricia A. Hibbert's attractive costumes.

Here come the reviews!

We had a bunch of reviewers at Sunday's performance of Turandot, and as the reviews come in, I'll be sure to post them here for you to read.

Here's one from The Star Ledger:

"Turandot," With a Touch of Royalty
BY BRADLEY BAMBARGER
The Star-Ledger
Tuesday, March 6, 2007

One has come to expect increasingly fine things from New Jersey Opera Theater, as it grows in ambition from season to season. The Princeton company, which stages its summer offerings at the McCarter Theatre Center's 360-seat Berlind Theatre, launched its fifth season Sunday with a nearly sold-out debut at the house's 1,100-capacity Matthews Theatre.

The event was a semi-staged presentation of Puccini's "Turandot," which will also serve as New Jersey Opera Theater's debut at New Brunswick's 1,800-seat State Theatre on Sunday. The education-oriented company makes the most of the Berlind, casting young singers from around the country in intimate productions. This starrier "Turandot" — which includes two Metropolitan Opera veterans in the cast — had no trouble projecting in the bigger McCarter venue, despite not having the usual grandiose trappings accorded the work.

A chamber-sized Westfield Symphony Orchestra and the 100-voice Mendelssohn Club of Philadelphia are on stage behind the costumed singers and a few props. (A camera on conductor Steven Mosteller projected his cues to stage monitors for the singers upfront.) Although not as colorful and physical as the Trenton production of "Turandot" by Boheme Opera New Jersey in November, the Princeton performance was more persuasive musically.

The drama still seemed as grimly pointless as ever, but no amount of spectacle can hide that, anyway. Puccini was never happy with the "Turandot" libretto, and he died before completing the music. (Franco Alfano composed the last part of Act III.) The story is one of blind desire and vengeful cruelty, set in ancient China. Obsessed with avenging an ancestor's rape, the title princess subjects her suitors to a riddle contest with fatal penalties for losing. An exiled prince, Calaf, is obsessed with melting the icy Turandot, even though he's never seen her. He ignores his ailing father's protests and the devotion of Liu, a slave girl. Calaf solves the riddle to possess the princess, but not before Liu sacrifices her life for him.

None of the characters are more than cardboard cutouts, but Puccini wrote one of his most moving tunes — the tenor aria "Nessun Dorma" — for Calaf. And the composer tasked Turandot with arias as cruel as her temperament. Sharon Sweet, who has sung Turandot from the Met to China's Forbidden City, is the rare soprano with the mettle to hit those high-flying top notes while phrasing with some lyrical subtlety. ...She sang the daylights out of those arias.

As Calaf, tenor Allan Glassman excelled in steely outbursts, his Met credits revealing themselves as hefilled the room. ...Soprano Barbara Shirvis was an attractive Liu, her tremulousness apt.

If Puccini's use of Far Eastern scales seems like postcard exotica now, the choruses can have power — at least when performed with the amplitude of the Mendelssohn Club chorus (prepared by Alan Harler). The lack of scenery didn't matter, as Patricia Hibbert's opulent costumes — especially those for Turandot and the ministerial clowns Ping, Pang and Pong — gave the eye plenty to enjoy.

Performance today!

Don't forget, everyone! New Jersey Opera Theater's first performance of Puccini's Turandot is TODAY, Sunday, March 4 at 3pm in Princeton. Tickets are limited, but still available, by calling 609-258-2787 or through www.mccarter.org. You can also walk up to the ticket office prior to curtain and try to get tickets.

See you at the opera!

Have yesterday's papers?

So if you haven't read yesterday's papers yet, then I'll give you an incentive. NJOT has a couple of articles in yesterday's papers.

In Time Off (Princeton area) and Tempo (Middlesex Co), both published by the Princeton Packet, Megan Sullivan wrote an article called "Love and Let Live: New Jersey Opera Theater brings Puccini's beloved 'Turandot' to the stage in Princeton and New Brunswick."

In the Trenton Times, NJOT has the front cover of the weekend "Good Times" section. Unfortunately, they haven't put the article online yet. When they do, I'll keep you posted...

Dress Rehearsal

So our dress rehearsal was on Thursday night. Unfortunately, I had to teach a class, so I couldn't get there until the beginning of the third act - I literally walked in the theater as Allan was really leaning into "Nessun Dorma." He was truly spectacular, I have to say... Really everyone, though, sounded great. And they looked fabulous! Here are some pictures taken by Jeff Reeder, NJOT's photographer.

Some more pictures

Here are a few more Turandot rehearsal photos. Sorry they're a little bit blurry - I only seem to get over to rehearsals in the evenings when the light is low (and the flash would distract too much).

Back for more?

While I was at rehearsal the other night, it occurred to me that quite a few members of the cast are returning to NJOT after having performed with us in the past. So if you are an avid New Jersey Opera Theater fan, you'll be familiar with at least a few of these singers:

Sharon Sweet (Turandot): 2006 gala, and presented masterclasses

Allan Glassman (Calaf): 2005 and 2006 gala, presented masterclasses, 2005 production of Il Trovatore (Manrico)

Barbara Shirvis (Liu): 2006 production of Falstaff (Alice Ford)

Anton Belov (Ping): 2005 production of Le nozze di Figaro (Count), 2005 Gala, and 2004 production of Don Giovanni (title role)

Stephen Lavonier (Emperor): 2006 productions of Gianni Schicchi (Spinelloccio) and Buoso's Ghost (Magistrate), and will sing in 2007 production of Romeo et Juliette (Mercutio).

Super tale!

Mike P., the supernumerary captain, has written a really interesting account of Tuesday night's rehearsal that he wanted to share with you:

At the end of the rehearsal of Act III on Tuesday Ira came up to the supers and Barbara Shirvis (Liu) after we had practiced the carry of Liu offstage. He said that it just didn't look right. He said he was sure there was something that other productions had done that looked better. I said, "They lift Liu to their shoulders." Ira said, "Yes, thank you." He was concerned that we might not be strong enough to lift her to our shoulders. Our strongest super, Dave, had already left but I was confident that we could to the lift. Kyle and I both have training in ballet partnering and Bob and Pradeep are in good shape. I looked around and saw Amy, our smallest dancer, and asked her if she would let us practice on her. Ira said, "Oh, you are going to practice now." Amy laid on the floor and Pradeep, Bob, Kyle and I easily lifted her to our shoulders. Ira liked the way it looked so we decided to demonstrate it on Wednesday with Jennifer, another dancer, so that Barbara would be confident that we wouldn't hurt her. On Wednesday Jennifer readily agreed to practice the lift so with Dave now replacing Pradeep we did the lift once for Ira and then for Barbara. Barbara was willing to try it and Raymond Aceto (Timur) joined us since he sings to Liu as we hold her and then holds Liu's hand as we carry her offstage. It worked flawlessly! As a final detail, Ira had Pradeep support Barbara's legs and lead the group offstage.