By Marilyn Lester***Having known a couple of opera divas in our time, be assured that the (former) lyric soprano, Amanda Reckonwith, who triumphed in her return to the stage at Pangea, after a 25-year absence, is no slouch. Reckonwith is just as fun, vivacious and full of high drama as she ever was, plus
in superb voice (even if she is now a mezzo)—as if her hiatus were 25 minutes instead of years.
Amanda Reckonwith Returns! celebrated the career of one who achieved international stardom on both Broadway and opera stages before settling down to have children, raise them and have them eventually leave her. Now known to the world as her generation’s most famous “Spento” soprano (you read that right, Reckonwith is now a spento, not spinto), as the result of several children lowering her former glorious vocal range by three octaves. Yet, in her opening number, “How Lovely to Be A Woman” (Lee Adams, Charles Strouse), the diva left no doubt that her notable flexible vocal capacities were in tact.
Amanda Reckonwith is, of course, the alter ego of the multi-talented and award-winning actor-singer David Sabella, who conceived, wrote and directed the show, as well as appearing as Reckonwith. He was aided and abetted by music director and pianist, “Maestro” Mark Hartman, a long-time musical collaborator, who, during a costume change, beautifully played a familiar classical number, the melodic waltz section of the overture to Johann Straus’ opera Die Fledermaus. Hartman also revealed his own comic talents during the performance, especially in a running gag about Reckonwith’s cluelessness to the “now” sensibilities of the world. Preparing to sing “Gypsy in My Soul” (Clay Boland, Moe Jaffe), a horrified Hartman interrupted the diva, explaining that “gypsy” is no longer a word used in polite company and especially on Broadway. These moments were great fun, with much truth beneath the humor.
Hartman’s arrangements were generally upbeat and energetic, but several ballads, such as the torch song from The Life, “He’s No Good” (Cy Coleman, Ira Gasman), allowed for a slow, dramatic interpretation. Audience participation came with a game Jeremy being recruited to be the dance partner of the diva in “That Tempting Tango” (Percy Wenrich, Julian Eltinge). The closer, “Fifty Percent” (Billy Goldenberg, Marilyn and Alan Bergman) is a test of vocal and interpretive skill for any singer-act
or; Reckonwith/Sabella aced it with passion and perfect vocal dynamics and lyric interpretation.
Amanda Reckonwith Returns! wouldn’t be complete without a big nod to opera. Sabella is an established countertenor, and his “O Mio Babbino Caro” from Giacomo Puccini’s Gianni Schicchi, was both vocally stunning and humorous, as Reckonwith fudged and point up to the sky on high notes she used to be able to reach. It was the encore that wholly combined operatic chops with knee-slapping humor. Popular in the several decades of the last century, P.D.Q. Bach, aka the very talented and witty Peter Schickele, presented many concerts at Carnegie Hall. Among them was The Three Bargain-Countertenors at Carnegie Hall. Sabella recreated the “Swing Sweet Low Chariot” number from that presentation, bringing down the house.
Unfortunately, when Reckonwith tried to thank her director, David Sabella, at the end of the show, he was nowhere to be found.
Amanda Reckonwith Retruns! plays again at Pangea on Saturday, October 1, and then on Saturdays, December 3 and 10, all at 7 PM. It’s a show not to miss!
