Skip to main content

Bizzy, Bizzy, Bizzy

Cosmos Flowers

 It’s been a busy couple of days. Today I picked cosmos and red and yellow 4 o’clock seeds for next year. (I’m being optimistic) and got ready for the siding installation on the house along with new gutters and downspouts plus awning removal. Then I headed off to the Marianna Public Library where I heard Mary Kay Zuravleff talk about her book on her family who immigrated to the U.S. as Old Believer Russian Orthodox. Some settled in Marianna and worshipped at an Old Believer church that still stands but has no current congregation. I wrote about the church years ago where I free lanced for the Washington County section of the Post-Gazette.

Little did I know I was sitting next to Dr. Leslie Midla and his wife, a dentist from nearby Marianna who is responsible for one of my tooth crowns. I also met historian Thomas Karolewics and his aunt as well as Cindy Spear, who helped create one of the best hiking trails in the area. (It’s only ¾ of a mile long but rises so steeply, you can see Scenery Hill from the top as well as the Uniontown Mountains.
I especially liked the cupcakes, muffins and cookies that were served at the reception.

Gioachino Rossini
Last evening, I caught the Pittsburgh Opera’s production of “The Barber of Seville,” a comic opera by Gioachino Rossini. I’m not sure if it was because I had a long six-month hiatus from the opera, was in a great mood or the opera staged one of its best in recent memories. The voices were all superb and John Moore in the role of Figaro not only excelled vocally but was impishly comic in the role of the barber. He’s definitely a singer to watch in the future.
Stephanie Doche as Rosina thrilled me with her Act 1 aria, but fell short in the Act 2 aria which I attribute to Rossini’s composition rather than her skills and talent. Musa Ngqungwana was an auditory delight with his low note register, which rang out forcefully even in the lower range. Brian Kontes as Bartolo was another singer able to reach into the lower register and produce some amazing melodies.
Emily Richter as Berta, not only sang well but has excellent ways with comedy. The ensembles were sheer genius (thank you Rossini) and the sounds produced were sheer bliss.
The opera’s ending included some of the most intricate and splendid vocals written by a musical genius. I was truly enthralled.
Something I learned about Rossini from the opera newsletter was the fact that Rossini stopped writing at age 37, except for a few works. For the rest of his life, he spent his time cooking and eating and is responsible for creating Tournedos Rossini, beef medallions with foie gras and truffle sauce. Rossini retired a very wealthy man who enjoyed giving lavish dinners attended by notable people in the world of music.
He is quoted as having said “Eating, loving, singing and digesting are, in truth, the four acts of the comic opera of life, and they pass like bubbles of a bottle of champagne. Whoever lets them break without having enjoyed them is a complete fool.”


Comments

Popular posts from this blog

Welcome to Fairyland - The Pittsburgh Savoyards Stage an Enchanting Iolanthe or The Peer and the Peri

      Peter Pan has one, Shakespeare’s A Midsummer Night’s Dream has a slew and Gilbert and Sullivan’s Iolanthe, as staged by the Pittsburgh Savoyards, has at least ten - before I stopped counting. Fairies, that is.     Just after the opening overture, performed by the 30-plus orchestra, possibly as best as I ever heard it under the baton of Guy Russo, a bevy of maiden fairies dressed in pastel gossamer fairy garb with wings, frolicked across the stage gleefully singing in full-voiced and stunning harmony ”Tripping hither, tripping thither.”     There was little to no tripping, however, as they danced nimbly to the spirited song, then segued into expressing their discomfort at the loss of Iolanthe (Savannah Simeone), the one fairy who brought such happy song and spirit to their fairy circle.     For such a blissful group there were some draconian laws that govern their behavior, namely, if one were to marry a mortal, they should be put to death. Alas, poor Iolanthe.     Due t

A Poignant Docudrama about a Valiant Steeler Hall of Famer

Ernesto Mario Sanchez as Mike Webster Credit: Pittsburgh Playwrights Theatre Company           Guys who rarely (or never) attend live theater but are often tempted to do so, might want to consider a visit to the Madison Arts Center in Pittsburgh. There, Pittsburgh Playwrights Theatre Company is currently staging a docudrama about a popular Steeler Hall of Famer.     12:52 The Mike Webster Story is a look at the final years of “Iron Mike,” as he was affectionately called, following his retirement from football in 1990. In his 17 years in the sport, he played in 245 games, 217 of which he started. All this longevity, however, took its toll as too-numerous-to-count head collisions with other players left him with Chronic Traumatic Encephalopathy (CTE).     The play opens with Webster (Ernesto Mario Sanchez) chewing the fat with close friend, quarterback, Terry Bradshaw (Paul Guggenheimer) just after Webster’s retirement from football. Paul Guggenheimer as Terry Bradshaw and Ernesto Mario

Merrily We Roll Along - A Children’s Ditty No More

Marnie Quick as Beth, Dan Mayhak as Frank, Catherine Kolos as Mary, NathanielYost as Charley and David leong as Joe Credit: Deana Muro     Judging by the full and rich sound of the first notes music director, Douglas Levine gets from his eight-piece orchestra, you have to assume Front Porch Theatricals is giving its audience a exemplary production of Merrily We Roll Along. And you’d be right.     Off to a good start musically, the show goes on to feature some fine vocal and acting skills from its cast of, would you believe, 19.     Talk about a challenge. In her directorial debut no less, actor and educator, Daina Michelle Griffith, corrals this expansive cast with the skill a Catholic nun herding a group of grade schoolers to daily mass. Only this is no throng of pre-teenagers but a horde of professionals with talent galore up to the task of bringing Broadway‘s legendary Stephen Sondheim‘s work to life.     The musical, based on a play by Kaufman and Hart, opens during a party