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| Vaughan & Company Dazzle in 9th "Ocean Aires" in 9 Striking 'Acts' |
by Bruce-Michael Gelbert
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| Ocean Aires Cast |
| Photo by Bruce-Michael Gelbert |
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"Ocean Aires," the annual classical recital, spearheaded by Isaac Steven Vaughan and given at the Cherry Grove, Fire Island, Community House under the auspices of the Arts Project of Cherry Grove, observed its ninth year with nine striking 'acts' on June 9. There were vocalists and instrumentalists, locals and guests, and all acquitted themselves admirably. Inimitable travesti performer Philomena hosted and narrated and Jeffrey Wallach fulfilled stage management duties.
Before the recital began, sultry new Grove Homecoming Queen Lola Galore greeted her people to strains of "God Save the Queen," played by pianists Vaughan and Eric Martin.
Assisted by Vaughan at the piano, Rosemary Palladino sang "O rest in the Lord," from Felix Mendelssohn's oratorio "Elijah," in a plangent contralto. With Martin at the keyboard, tenor Chris-Ian Sanchez gracefully sculpted Johannes Brahms lied "Von ewiger Liebe," beginning his ode to "everlasting love" dulcetly, but summoning more dramatic tone for the climaxes.
In "Ella giammai m'amo," from Act Four of Giuseppe Verdi's "Don Carlo," bass Eric Coyne, singing sonorously, caught the essence of King Philip II of Spain in a vulnerable, contemplative moment, realizing that, for all his power, he cannot dictate matters of the heart. Assisting Coyne were Rodney Giles, his life partner, at the piano, and Kurt Behnke, on violoncello, playing the long plaintive prelude representing the monarch's private suffering. Violist Thomas Frenkel joined Behnke for Ludwig van Beethoven's duet "mit zwei obligaten Augengläsern," which proved engagingly airy, the relatively low timbres of the instruments notwithstanding, and was written, Philomena advised us, for private performance by the composer and a friend, the "Augengläsern" (eyeglasses) of the title mocking the original players' poor eyesight.
After accompanying several singers, longtime friends Vaughan and Martin had their moment to shine in Sergei Rachmaninoff's unusually somber, then glittering Barcarolle, Opus 11, Number 4, and made their affection for each other quite plain in their piano four hands performance. Another pianist on hand was Clarence Perry, who offered a restless and spiky Toccata by Aram Khachaturian.
Vaughan was the pianist for Carl Maria von Weber's Concerto for Bassoon in F, of quasi-Mozartian grandeur and lyricism, with bassoon soloist Nunzio Todisco, already in toga for a later Atlantis-themed birthday party, demonstrating his versatility on the instrument in a bravura allegro ma non troppo movement, melting legato romanza, and ebullient scherzo. Vaughan and Martin, at the keyboard, led the audience in singing "Happy Birthday" to the young bassoonist.
Nathananiel, assisted by Vaughan, limned Paris' love for Helen in a bright and hearty tenor in popular 'aria antica' "O del mio dolce ardor," from Christoph Willibald von Gluck's "Paride ed Elena." With Martin assisting, Marlena de la Mora brought the evening to a glorious close with a pair of contrasting arias, unfurling her lush soprano in a vividly intense "L'altra notte," Margherita's mad scene, from Arrigo Boito's "Mefistofele," and reveling in a frothy "Art Is Calling for Me" ("I want to be a prima donna"), from Victor Herbert's "The Enchantress."
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