by Geoffrey Paddy Johnson on January 31, 2012
Stabat Mater Fabulosa
The Morningside Opera company offered up a quite singular interpretation of Pergolesi‘s Stabat Mater in their Fabulosa rendition on January 26th at Dixon Place, which proved, at once, a scholarly as well as a quite literal undressing of the original. Composed in 1736 – the year of Pergolesi’s death at the august age of 26 – the piece has been an iconic work in the canon of western sacred music ever since and has enjoyed an unbroken record of performance for nearly three hundred years. This surely says something about a work, to have endured so vigorously the vagaries of artistic, musical, and religious change, never mind or dare one say, taste. Which in many ways explains its attraction for Morningside Opera, who see their role as boundary-pushers wishing to invigorate dialogue between traditional and new modes of the form. Their stripped down presentation was both scholastically dense as well as visually provocative.
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by Karen Tortora-Lee on March 24, 2011
These women of the arts hail from different disciplines, but they all have an indomitable spirit and a luminescent spark that makes them amazing human beings who are out there every day, doing amazing work.
Today we continue our series with Brett Umlauf.
The first time I saw Brett she was decked out in a huge red velvet ball gown, had a powdery white wig upon which a black top hat was perched and she was singing along with two other identically dressed women. Together they were Charites, and they were singing everything from opera to standards to Lady Gaga for Austin McCormick’s take on fairy tales – Le Cirque Féerique. I found them utterly captivating, versatile and charming so when it came time to have my one year anniversary party I definitely knew I wanted them to perform, and I was thrilled when they accepted. Soon enough Brett and I kept in touch through various other things she was involved with, most notably the Diva Search produced by Morningside Opera.
As a lifelong devoted fan of Opera with season tickets to the Met, I’m thrilled that I now have a strong connection to the next generation of Opera via the lovely and talented Brett Umlauf. The more I get to know her, the more I’m continually drawn to her thoughtfulness, her dedication to her craft, and her supreme talent - the voice that floats so effortlessly from her tiny frame and fills a room with the most glorious, lilting, soaring notes that leave you astonished. Ahh, if only Brett could sing her answers for us …
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by Karen Tortora-Lee on May 13, 2010
COMPANY XIV (photo by Cristina Ramirez Hirst)
Can you die from too much beauty? Probably not. But if you could, I came close to doing so as I watched Company XIV “A mixed media Neo-Baroque dance-theatre company” spin Le Cirque Féerique (The Fairy Circus) into being in front of my dazzled eyes last weekend. The show consists of a series of fairy tales choreographed and directed by Austin McCormick, written and adapted by Austin McCormick and Jeff Takacs, and conceived by Austin McCormick and Zane Pihlstrom and runs till June 6th.
In an unassuming building on Bond Street in Brooklyn where Company XIV makes their home you will find the most unusual matrix of Music, Mystery, and Magic. That’s right, I said Brooklyn. And hold on to your hats, folks, because in the next few paragraphs I’m also going to say things akin to “Frog Prince”, “Madonna”, “Cinderella”, “Carmen”, and “Balloons”. Yes – it’s THAT kind of show.
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