Women on the Verge at Opera Manhattan: Lady Macbeth, Mrs. Rowland, and “Elle” by Michael Miller


Berthe Bovy in La Voix Humaine by Jean Cocteau. Note the classical Greek peplos style of her nightgown.

I certainly didn't want to miss hearing two supremely talented friends—Kala Maxym and Roza Tulyaganova—sing Francis Poulenc's challenging monodrama, La Voix humaine, last weekend, and to my delight it introduced me to a new, still small, but thoroughly admirable operatic enterprise in the city,Opera Manhattan Repertory Theatre. Calling itself "a company for artists by artists," Opera Manhattan "serves the New York metro area by producing and performing both popular and unusual operas for the theatergoing public and under-served communities. OMRT strives to empower emerging artists, encourage creative thinking, and develop business-minded artists by creating opportunities for artists to produce operas themselves," as well as "to present New York's best emerging professional singers by providing them with performing opportunities and guidance." This special Valentine's Day performance did all these fine things and more—it was a constant delight for anyone who loves opera and the art of singing. The five singers I heard on Saturday afternoon and evening showed, for the most part, dramatic skills and a refinement of vocal development far beyond what one would expect from a "young singer." These were for the most part completely realized performances from completely formed artists. My apologies to Melinda Griswold, whom I did not hear.

Read the full review
 in New York Arts