.::GIUGNO 2010::.

Legacy management is, ultimately, the most vital element in any artistic career. Whether the deceased had been a painter, a writer, a dramatist, or a composer, the warm afterglow that keeps a distinguished reputation alive (and keeps the oeuvre discussed and sought after ) must be carefully fueled and stoked so that the sacred fire does not go out. Niccolò van Westerhout [1857 — 1898] had the talent to create a steady output of musical delights including the more challenging compositions such as symphonies and operas. But he had three strikes against him: he died young; his family did not have the funds to organize concerts nor promote his work; and, shortly after his demise, his father, brother, and sister also died leaving no heirs. As if that were not enough to bury his career, van Westerhout's talents were eventually greatly overshadowed by Giacomo Puccini [1858 — 1924], whose success on the Italian opera scene seemed to hit all the high notes. Eventually, however, the late Molese was fortunate to acquire a magnificent godfather, namely his kinsman Leonardo Campanile — publisher of L'IDEA — whose goal it was to resurrect a reputation too-long neglected. And with his passion and dedication guiding the project for several years, Niccolò van Westerhout's music has received on-going attention in this magazine and, more wonderfully, his one-act opera, "Doña Flor" has finally received its American premiere at Yorktown Stage. "Doña Flor" was not forgotten along with its Apulian composer. YouTube has performances of it on view, for instance, a production from July 2007 that was conducted by Giuseppe La Malfa. However, Leonardo Campanile’s scrupulous research led him to a discovery: the music of "Doña Flor" that could be found in circulation was nothing more than inauthentic arrangements assembled by innovative musicians. At last he found the ORIGINAL SCORE and secured the rights from Ricordi, van Westerhout's publishers. It is an intriguing opportunity as well as a daunting challenge to be the first American group to take on a work that has seldom been heard in over a century. Taconic Opera's director, Dan Montez, admitted that this was a huge step forward for the company. "It's hard to learn and it requires my singers to use all of their training," Montez confided. "With most operas, you can get the CD or a DVD and listen to it being done. But if there are no recordings, learning it from scratch is very tough." Mary Petro, a Realtor by day, was selected to be the first American soprano to sing the title role of Doña Flor. "Being numero uno is exciting because I don't have to rely on anybody else's interpretation,” said Mary Petro. “I will never be overshadowed by the great Maria Callas in this role nor will I ever hear a colleague say, 'You know, when I saw it at the Met in 1973, so-and-so blew me away...' This is a rare chance to perform a role using my own interpretation. What a great opportunity and a blessing!" "Doña Flor" is van Westerhout's one-act love-triangle about a Spanish ambassador (Don Filippo) who tricks his wife (Doña Flor) into murdering her dashing Venetian lover (Alvise). The librettist Arturo Colautti (a poet and a journalist) was innovative, bringing fresh elements to his narrative. For example, there is no confrontation between the men; instead the cuckolded husband ends the affair by manipulating his wife. What seems the most modern is that the energetic dialogue often has one character speaking over the other, adding urgency, tension, and suspense. Mary Petro said the one-act opera builds its characters quickly. "There are gems in the libretto that are obvious points in the character," she noted. "Flor says she doesn't fear dying. She fears being forgotten. She tells her husband: 'You stole my youth, I've got nothing left,' " Petro added. "That's how she justifies taking a lover. She'll take his youth." At first, she explained, she had started singing Flor as if she were a victim. As she got into the role, though, she could feel Flor’s emotional state as more personally angry. The music transports you directly through Flor’s wounded heart and betrayal as van Westerhout's music oscillates between nimble, operetta-like writing and orchestral utterances of knifelike, chilling force. Dan Montez said this Apulian composer has been a revelation. "The composition to me sounds Wagnerian, but he grew up in Italy. And there's this Spanish stuff that's mixed in, because two characters are the Spanish ambassador and his Latina wife. When Flor sings, it sounds Spanish. When the tenor sings, it sounds Italian," he observed, adding with a smile: "The lover boy tenor always has to be Italian." In rehearsing the scene when Doña Flor, goaded by her husband, accuses Alvise of being unfaithful, Dan Montez told Mary Petro to reject the lover's smooth talk. "Dan was telling me, 'You're not going to fall for it. You're not going to buy it,'" Petro recalled. "But oh, no! I could feel myself falling for this! And, after all, if the composer didn't want women like Flor to fall for it, he wouldn't have made the aria so beautiful." What did Niccolò van Westerhout wish his audience to hear underneath the music in his one-act opera, "Doña Flor"? Perhaps he wanted his listeners to be aware of passion, about that part of oneself that is hell-bent on pursuing its own path despite warnings that it will lead to disaster — — because not to pursue your passion is another kind of horror. There’s a timelessness here, too, about people always needing to make their destiny, about that eternal urge to transgress limits and challenge fate. Leonardo Campanile finessed his way around lot of limitations over the last eight years as he struggled to reawaken this music for a new generation and a new country. He challenged fate and for that we must say: Bravissimo!