Classical Concert Reviews Cinci

@uc_ccm presented its annual graduate student production for 2026 with a double bill of two underrated masterpieces of early 20th-century opera by Kurt Weill and Francis Poulenc in the intimate yet venerable acoustic of CCM’s Cohen Family Studio Theater.
Weill’s Mahagonny-Songspiel, composed in 1927, was expanded two years later into the full-scale opera Aufstieg und Fall der Stadt Mahagony. While not having any sort of plot and being primarily vignettes exploring visitors to the titular city and their individual struggles to have needs satisfied, it does work very well as a staged opera, none more so than in this evening’s production designed by CCM student Luke Dufilho.
The use of a cast of only 6 singers and one spoken role (the latter played by Brigid Mack as Mr. Capitalism) worked surprisingly well in this space. Sopranos Clara Reeves and Caroline Carter as Jessie and Bessie gave vocal and dramatic performances that were sexily elegant yet warmhearted. The make quartet of tenors Carlos Ahrens and Levi Capesius, bass Donghoon Kang and baritone Andrew Hallam (collectively playing the roles of Charlie, Billy, Bobby and Jimmy), were wonderfully convivial, sometimes surreal and sometimes tender. These roles essentially predicted how Weill would write the roles of Anna’s family in his 1933 score Die sieben Todsünden.
In terms of production design, everything about this production was impressive, even if there were aspects of certain stage directions or set pieces that may have seemed too graphic or glorified sexual imagery (such as a metal pole with an accompanying standee to signify a pole dancer). However, in the grand scheme of things, it was an enjoyable experience all around, one which I hope will inspire more stagings by other schools or small companies fairly soon.

CCM’s graduate opera production for 2026 continued with a rare performance, under the direction of alumni guest conductor William Langley of Francis Poulenc’s opéra bouffe Les Mamelles de Tirésias, written in 1944 and based on Guillaume Apollinaire’s play adapting the myth of the Thebian soothsayer Tiresias, its plot is probably one of the silliest in all of opera, exploring the ideas of encouraging more babies to be born and changing sex as a way to accomplish a social agenda. However, it provides many opportunities for uproarious humor while also maintaining its surrealistic air, matched by the colorful set and costume design (by CCM students EJ Goodman, Kyle Williams and Anya Brennan) reminiscent of the 1964 movie musical The Umbrellas of Cherbourg.
Soprano Léa Nayak as the title character was more of a supporting role, but she brought a hilarious charm to her characterization (including at least two spoken lines of dialogue that would be considered NSFW). Baritone Søren Pedersen as Tirésias’s husband brought all of his comedic talents on full display and demonstrated his outstanding vocal technique and plush, luxuriant sound to the role. Baritone Alan Rendzak as the Theatre Director was incredibly charming and engaging, with a well-rounded voice and a dynamic stage presence.
Baritone Jack O’Leary as Le Gendarme was just as uproarious and fun, essentially a character that could best be described as charming as Hercule Poirot but also as comedic as Inspector Jacques Clouseau. His voice was strong without being overly brash and never overshadowed any of the other characters he interacted with. Wonderful turns in the smaller roles of the Theatre Director, the Parisian journalist, La Marchande de Journaux, Lacouf and Presto were provided by Alan Rendzak, Levi Capesius, Junyue Gong, Carlos Ahrens and Caden Webb. Who knew that audience participation could make an opera-going experience fun?
Tonight was perhaps one of the best experiences I have had attending an opera production at this fine institution in quite a while. It would be fair to say that the future of opera in the United States is in excellent thanks to such fantastic rising stars as these. Bravi!!