Category Archives: Regional opera

Opera Phila’s ‘Cold Mountain’ a Scorching Success

Operatoonity.com review: presented by Opera Philadelphia (the sixth opera in their American Repertoire Program)
Live performance: Sunday, February 14, 2:30 p.m.
The Academy of Music, Philadelphia
Music: Jennifer Higdon
Libretto: Gene Scheer
5.0 out of 5.0 stars

five stars

 

 

Opera Phila's five-star production of "Cold Mountain"

Opera Phila’s five-star production of COLD MOUNTAIN

I am the luckiest reviewer in the world. I was privileged to experience an incredibly beautiful and poignant production of COLD MOUNTAIN, a new contemporary opera presented by Opera Philadelphia this past Valentine’s Day. How fitting. I left my heart in the Academy of Music that afternoon with tears staining my cheeks and my unabashed affection for this Pennsylvania company filling me with pride on my ride home to Lancaster.

Wait a minute. Aren’t critics supposed to criticize? The more critical it is, the better the review, right? My mission with Opera Philadelphia is different from many reviewers’, as I see it. It’s not to show how learned and accomplished I am. It’s not to display my facility with language. My task here is to use this digital bully pulpit to share with the world, and I do mean the world thanks to the Internet, the extraordinary arts opportunities Opera Philadelphia is bringing to the East Coast of the United States.

Full disclosure: I adore Opera Philadelphia’s American Repertoire Program. I’ve seen every production since they launched this initiative in 2011, beginning with DARK SISTERS, simply an excellent chamber opera. The American Repertoire Program points to the future of opera in America–contemporary, original operas not simply silly regietheater representations of classic operas that some companies trot out for audiences.

COLD MOUNTAIN was spectacular. And my expectations were sky-high. Charles Frazier’s novel Cold Mountain is my favorite contemporary book. I snuffled and wept through an entire box of tissues devouring it. When Opera Philadelphia announced this production, I almost couldn’t wait for February. And who among us looks forward to February? Opera Phila offered a singularly rewarding opera experience. So good that I had to find new five-star art to post for this show.

cold-mountain-05

Jarrett Ott as Inman and Isabel Leonard as Ada in COLD MOUNTAIN

The stage was set was fully visible upon entering the theatre–ramshackle boards in such disarray I immediately conjured media images of the World Trade Center after 9-11. Foreboding, devastation, and senseless loss crept into this  viewer’s soul before the orchestra has struck a single note of Jennifer Higdon’s extraordinary work.

Higdon tackled a novel of depth and scope and successfully translated it into a contemporary opera. I was fortunate to receive a copy of the education program that Opera Phila shares with school students and reading it brought Higdon’s score alive anew. I was reminded of all the distinctive elements in her score to evoke time and place–fiddle music, knee-slapping percussionists, the sounds of twinkling stars made with knitting needles, and strains of mountain music throughout. The opera opens with the sinister leader of the Home Guard singing a folk tune from the era, and the effect was chilling.

Because I am such a fan of the novel, high expectations loomed for Gene Scheer’s libretto, too. The language Scheer put to the aria Metal Age will rip out your spleen:

YouTube Preview Image

“Thousands and thousands in bright blue, shiny, factory made uniforms. We shot them and loaded. Shot them and loaded. For five hours, thousands and thousands of men…and there in the middle of it, a drummer boy crying, bleeding, dying…He shot me in the neck. The metal age has come.”
–Inman’s aria “The Metal Age.”

If you don’t know the story, it’s nearly a contemporary telling of Homer’s Odyssey with a little Les Miserables thrown in for more an extra heaping helping of pathos. W.P. Inman (Odysseus) is a Civil War deserter struggling to return home to Cold Mountain see Ada Monroe (Penelope), the remembrance of whom is the only thing keeping him alive despite severe privation and dogged persecution by Teague (Javert), the leader of the crew hunting down deserters like stray dogs.

As Inman, baritone Jarrett Ott, who stepped in for Nathan Gunn, effected the most thoroughly broken man without the affect of melodrama. Since I admit to having fangirled Gunn in previous reviews, I thought I’d  be disappointed with Ott, but was very happily surprised with his interpretation. He fully inhabited Inman’s character while singing the role with power and polish.

cold-mountain-04

Jarrett Ott as W.P. Inman

Mezzo-soprano Isabel Leonard was luminous as Ada. She is the consummate performer–a star in every aspect. Beautiful to hear and see, she made her Opera Phila debut in this show. I predict Philadelphia was treated to a performance of one whose star will quickly rise even higher very soon. Brava, Miss Leonard.  You were grace, elegance, talent, and depth personified in this production. Would she have shone so brightly opposite Gunn? One hardly cared after a point.

cold-mountain-05

W.P. Inman ( Jarrett Ott) recalls a happier time with Ada Monroe (Isabel Leonard) before the Civil War.

Ruby Thewes, Ada’s friend and partner, is a delicious role in the novel but a difficult one to score and to sing. Ruby is as down-home and prickly as Ada is refined and noble. Mezzo-soprano Cecelia Hall did a serviceable job in the role. Ruby’s character can be likened to nails scraping a chalkboard. While grit makes for an interesting spoken role, it can be overwhelming for a performer to convey in song and for the audience to hear. By necessity, Ruby lost some of pluck going from the page to a musical score, which is the show’s only real shortcoming.

cold-mountain-08

Ruby (Cecelia Hall) encounters her estranged father Stobrod Thewes (Kevin Burdette), who has also deserted the war

Tenor Jay Hunter Morris’ star power crackled as the evil leader of the Home Guard Teague, the Javert-inspired character. Yes, in this opera, the tenor is the bad guy, and the the baritone gets the girl. Hunter Morris was so masterfully evil, so convincing as the consummate Confederate baddie that he was soundly booed at curtain call. I smiled inwardly remembering this “baddie”performing a darling lullaby in cabaret at the Glimmerglass Festival’s Gentleman’s Night Out only a summer ago, accompanying himself on his guitar. He was the picture of haunting perfection in this production.

cold-mountain-11

Teague ( Jay Hunter Morris) uses Javert-like tactics in hunting down Confederate deserters.

I am such a fan of bass Kevin Burdette, who is a chameleon of a performer and an extraordinary opera singer (and I don’t really like basses–truth be told.) I have seen him be hilarious and also gut-wrenchingly despicable, depending on the role. I wanted his part to be larger as Ruby’s father Stobrod. But the opera is the proper length at two and a half hours with one intermission, so that is merely self-indulgent desire on my part.

cold-mountain-09

Stobrod Thewes (Kevin Burdette) and Ada Monroe (Isabel Leonard)

This tale of Inman–a quiet, private hero who has witnessed a depth of brutality no decent person should ever experience, who is redeemed only by Ada’s love–was a heroic effort for which all involved deserve highest praise. The orchestra under Corrado Rovaris,  the sweeping direction of Leonard Foglia, the ingenious completely functional dysfunctional set design by Robert Brill, lighting design by Brian Nason, and, of course, all the talented performers in the Opera Philadelphia Chorus turning in stunning cameos also made this production the shimmering, albeit soul-scorching, production it was.

I am deeply grateful for your artistic endeavors, Opera Philadelphia. I tried to choke back my tears during curtain call but they would not stop. The City of Brotherly Love has a treasure in this company.

A special Operatoonity.com shout-out to my press contact Frank Luzi, always a pleasure to work with, whose children were darling in the show.

Leave a Comment

Filed under 21st Century Opera, contemporary opera, favorites, Live opera performance, Modern opera, North American Opera, opera and fiction, opera firsts, opera milestones, PA, Premieres, Regional opera

Opera Phila tells poignant tale of jazz in one word: Yardbird

Charlie Parker's Yardbird

The cast of Charlie Parker’s Yardbird presented by Opera Phila

Operatoonity.com review: Charlie Parker’s Yardbird, a world premiere co-commissioned and co-produced by Opera Philadelphia with Gotham Chamber Opera
Live performance: Sunday, June 14, 2015, 2:30 p.m.
The Perelman Theater, Philadelphia
Music: Daniel Schnyder
Libretto: Bridgette A. Wimberly
4.5 out of 5.0 stars

4.5strslg

yardbird_001

Tenor Lawrence Brownlee singing the title role Charlie Parker’s Yardbird | Photos courtesy of Opera Philadelphia

It is a rich and thrilling time in which to live when the world of opera boldly embraces the world of jazz. Virtuosos from one musical realm inspire virtuosity from another, specifically bebop or the style of jazz invented by Charlie Parker and Dizzy Gillespie that employed lightning fast riffs and sophisticated chord structures.

Opera Philadelphia presented a moving homage to the legacy of Charlie Parker with a world premiere of the chamber opera Charlie Parker’s Yardbird. The premise intrigues. On the day of Parker’s death, March 12, 1955, he arrives at Birdland to write his final masterpiece. There he encounters significant figures from his past including his mother, his past wives, his heroin dealer, and even Dizzy Gillespie until his body is identified, and he passes over into the next realm.

In this reviewer’s humble opinion, this work represents where modern opera needs to go: embracing current and timely myths and legends rather than those tales that have been done and overdone by classical composers.

Though robust, Daniel Schnyder’s musical score didn’t embrace as many dimensions as Charlie Parker’s did. Yes, Parker defined bebop together with Dizzy Gillespie, but he also played standards better than any saxophonist of his generation. I was hoping for more diversity of sound, a bit more convention and less aberration, more light and dark throughout. However, Bridgette A. Wimberly’s libretto was poignant and honest–a stunning treatment.

In the scene called ” Calvary,” Parker’s mother Addie and first wife Rebecca sing a tender duet of loss, each echoing the other’s words:

Ain’t easy, it ain’t easy to be a mother, a wife to a strong black man
This land ain’t no place for a jazz bird, for a jazz bird
For a jazz bird like my man got dreams

yardbird_004

Tenor Lawrence Brownlee was ideally voiced for the role. Vocally, he’s a monster, to borrow a term from jazz referring to a musician with chops that simply don’t quit. While Charlie Parker became addicted to heroin through no fault of his own–he was recovering from a debilitating accident–he became a drug addict nonetheless. Brownlee is, well, somewhat of a boy scout. Or at least that’s how he comes off onstage. Perhaps he is wild and raucous offstage–who knows? Regardless, a heroin addict is a theatrical challenge for the wholesome-looking Brownlee to portray convincingly.

yardbird_008

Soprano Chrystal E. Williams as Charlie’s first wife Rebecca and soprano Angela Brown as Charlie’s mother Addie.

The women in this show were a tour de force. Malleable, versatile, and adaptive, they were more than believable in their roles as discarded women, ex-wives, and illicit lovers. Angela Brown was the loving, long-suffering mother, Addie Parker whose son’s downward spiral evoked audience empathy since that she tells him he has become mean, either from the drugs or the success. She knows she has a prodigy in Charlie and can only wring her hands at his self-destructive choices. She sang with beauty and despair at his wanton choices and was warmly rewarded for her performance at curtain call.

AVA grad Chrystal Williams has been delightful in every role I’ve been lucky enough to catch her in at AVA and Glimmerglass. She can take on any role with sensitivity and believability. She has a clear, powerful soprano voice and tremendous stage presence, and I can’t wait to see her in her next role.

yardbird_009

Soprano Angela Mortellaro as Parker’s third wife Doris.

All of Parker’s wives evidenced incomprehensible devotion to him, despite his rejection and infidelity. Angela Mortellaro as Doris Parker and Rachel Sterrenberg as his fourth wife Chan brightened the stage with each appearance. Each had soaring voices and loads of presence on stage. While they each must have loved Charlie for the same reasons, it was hard to believe he could have cheated on either of these desirable women if he’d been of sound mind.

yardbird_014

Bird dies in the hotel suite of wealthy jazz patroness Pannonica de Koenigswarter or “Nica,” who endures life-shattering censure and scorn because a black man died in her segregated hotel suite. This lovely heiress, sung by Tamara Mumford with elegance and compassion, helped the audience better appreciate how much sheer appeal and charisma that Charlie Bird Parker possessed.

Tamara Mumford as Bird's patroness Nica.

Tamara Mumford as Bird’s patroness Nica.

From “Powder Her Nose” to “Silent Night” to “Dark Sisters,” it is vitally important to have a company with Opera Philadelphia’s resources and polish introducing contemporary works to today’s operagoers. Someone I greatly respect once said that if today’s opera could combine the melody of the classic works with the relevance of contemporary story, they’d have the ideal marriage of qualities to move opera forward to new audiences in the 21st century. Keep the new work and the chamber operas coming, Opera Phila. You are doing a tremendous service to the art form. Operagoers are indebted to you for your willingness to take chances and advance opera in the new millennium.

2 Comments

Filed under 21st Century Opera, chamber opera, Live opera performance, North American Opera, opera star power, Previews, Regional opera

Opera Phila’s ‘Don Carlo’ oddly satisfying

Operatoonity.com review: Don Carlo presented by Opera Philadelphia
Composer: Giuseppi Verdi; text by Joseph Méry and Camille du Locle
Live performance: Sunday, April 26, 2015
The Academy of Music, Philadelphia
4-stars

don-carlo-005

Opera Philadelphia’s Don Carlo |photos courtesy of Opera Philadelphia

The afternoon’s performance began with an announcement that role of Princess Eboli would be sung by mezzo-soprano Ekaterina Gubenova, who would warble from the wings while Michele DeYoung who suffered from bronchitis would act out the role only, lipsyncing throughout. One had to divide one’s attention three ways whenever Princess Eboli appeared–between the raked stage, the wings, and the supertitles.

The unveiling of an incomprehensible design concept followed–an octagonal backdrop that left me scratching my head because I didn’t understand how it related to story of the King of Spain marrying his son’s fiancée, a French princess, to end the war between France and Spain. The idea that one of the most powerful leaders of the Western world pined that the woman he stole from his son didn’t really love him may be a commonly romanticized Verdi sensibility but seemed ludicrous based on the actions of world leaders today.

Finally, at the beginning of the second half, an announcement was made that bass baritone Eric Owens, the show’s most luminous performer, was not feeling well and asked for the audience’s forbearance in the event his powerhouse aria wasn’t at its best.

don-carlo-006

Bass-baritone Eric Owens as King Philip II | courtesy of Opera Philadelphia

While none of those items individually are deal breakers, they did lend themselves to an unusual experience collectively. The human voice may be the frailest of instruments–we all know that. Nonetheless, the audience is disappointed when it fails the performers in the show they are so expectant to see.

Dimitri Pittas as Don Carlo and Troy Cook as Rodrigo.

(L-r) Dimitri Pittas as Don Carlo and Troy Cook as Rodrigo.

As the lovelorn Don Carlo, New York tenor Dimitri Pittas was simply a dream. He looked the role and sung with unrelenting power and fluid grace. Singing the role of his former fiancée Elisabeth was soprano Leah Crocetto, who sang sweetly and precisely but was not ideally suited for the role physically as Don Carlo’s lover, coveted by men.

Leah Crocetto as Elisabeth De Valois

Leah Crocetto as Elisabeth De Valois

Ekaterina Gubanova

Ekaterina Gubanova

While no one would wish bronchitis on any performer, DeYoung’s illness did offer a first-time opportunitiy to hear Gubanova sing Princess Eboli. She recently performed the role at the Metropolitan Opera and was in top voice. She sings with temerity and a sultry black swan quality. I will certainly be looking for opportunities to see her perform in the near future. She was mesmerizing–merely singing opera in concert.

Baritone Troy Cook from Quakertown, Pennsylvania was ideally cast as the passionate Rodrigo who convinces Carlo to ask his father for governorship of Flanders, becomes King Philip’s pawn, and loses his life. He has a compelling presence on stage with a lyric baritone that is beautiful and powerful.

The biggest name on the bill was Metropolitan Opera star Eric Owens as King Philip. Despite the disclaimer that he wasn’t feeling well, his second-half aria where he laments that fact that Elisabeth never loved him was a showstopper. I have seen Owens perform several times, and if he could have sung that aria better than he did that afternoon, it would have been an operatic miracle. That being said, it does detract from one’s willing suspension of disbelief to be notified that he was ill. I was half expecting him to collapse on stage throughout because the aria is so physically and emotionally taxing.

As evil and selfish as he is, somehow King Philip doesn’t emerge from this story as the Numero Uno Baddie. That would be the The Grand Inquisitor sung with chilling menace by bass Morris Robinson.

Eric Owens as King Philip II and Morris Robinson as the Grand Inquistor

(L-r) Eric Owens as King Philip II and Morris Robinson as the Grand Inquistor

Yes, this opera does remind the audience that the reign of the Spanish Inquisition was one of the darkest periods in Western history. Not an easy feat. Consider all the other major contenders. However, did the production have to look so dark? The costumes varied from black to jet black, the set was dark and enigmatic throughout with dark atmospheric lighting, the storyline is relentlessly dark, and the overall effect was, well, oppressive. Sometimes dark becomes darker with the occasional infusion of light and lightness.

One such reprieve very early on was the Women’s Chorus singing as Elisabeth’s attendants. They were lovely to hear and see. Remarkable that the most oppressed sound and look light and airy in this opera and the oppressors dark and heavy.

Many elements made the show oddly satisfying, the Opera Philadelphia Orchestra notwithstanding. Conducted by Corrado Rovaris, the orchestra delivered one of the most consistently striking and admirable performances of the show.

This was an ambitious show, even for Opera Philadelphia. Often in partnership with other companies, in this case WNO and Minnesota Opera, they continue to offer important and challenging works and not just those that commonly appear in the repertoire. They deserve kudos for performing complex operas that aren’t always easy to enjoy. They are making their mark in the opera firmament by being brave and often upstart, demonstrating there’s room for more than one premier company on the East Coast.

 

Leave a Comment

Filed under Classic Opera, Italian opera, opera star power, Regional opera, Reviews

AVA’s L’italiana sails despite evening’s perfect storm of challenges

Operatoonity.com reviewL’italiana In Algeri presented by the Academy of Vocal Arts
Composer: Gioachino Rossini; libretto: Angelo Anelli based on his earlier text set by Luigi Mosca
Live performance: Tuesday, November 18, 2014
Goodhart Hall: Bryn Mawr College, Bryn Mawr, PA

The Academy of Vocal Arts (AVA), Philadelphia’s premiere opera training academy, routinely transports nearly every production to the Greater Philadelphia suburbs including the Centennial Hall at The Haverford School. This is a much heralded tradition that operagoers appreciate. It’s a lovely hall and very convenient for suburban opera lovers.

The AVA can’t be faulted that the day the company was scheduled to offer L’italiana In Algeri in Haverford was  frigidly cold for November in Pennsylvania–below freezing all day. They discovered their venue’s heating system was inoperable and had to quickly relocate nearby for that evening’s show.

The cast of L’italiana in Algeri, presented by the Academy of Vocal Arts, 2014

Though the venue was toasty warm, Goodhart Hall at Bryn Mawr College had no orchestra pit, so the entire orchestra had to pile onto the stage for the performance, which left only the proscenium available for performers. Nor could the set from Centennial Hall be readily installed at Goodhart. Lastly, the facility could not accommodate supertitles, so none were offered, at least to those audience members sitting in the balcony, such as this reviewer.

Despite all these challenges, the performers were there to put on a show and perform they did. They seemed unfazed by the musicians behind them, the lack of set around them, and  in the absence of supertitles, every audience member laser-focused on their performances, trying to extract meaning from every note, every gesture, and every facial expression.

I suppose the company had a bit of fortune that all this occurred during a Rossini dramma giocoso. The storyline is a happy marriage of nefarious plotting against a pair of deserving and attractive lovers, which is foiled, of course, so the evening can be all wrapped up in a happy-ending bow.

The Turkish Bey Mustafà is bored with his harem, wants an Italian girl, and, lo and behold, a made-to-order beauty, Isabella, washes up on shore with a band of pirates:

Isabella and the band of shipwrecked pirates

As the much-admired L’italiana, mezzo-soprano Hanna Ludwig delivered a sturdy performance. The role was written for a contralto, and at times, it seemed the lowest notes required fell outside of this mezzo’s comfort range.

Mezzo-soprano Hannah Ludwig as Isabella

She did have a great sense of comic timing, especially with the band of shipwrecked pirates.

As the Italian slave Lindoro, Australian tenor Alasdair Kent had that all important Rossini tenor ping to his voice. His lovelorn affect was endearing. His voice cracked a few times throughout the night,  but his acting and onstage presence were solid.

Tenor Alasdair Kent sang the role of the lovesick Lindoro

Best performance of the evening honors must go to bass-bariton André Courville as the Turkish Bey Mustafà. His powerful voice and spot-on characterization never wavered. He was imperious and comical at the same time. As Mustafà, he appeared completely unfazed by the change of venue, lack of meaningful set, orchestra playing behind him, and clambered onto and off his makeshift throne with aplomb. His scenes with Michael Adams as Isabella’s would-be lover Taddeo were magical. Bravo, Mr. Courville.

From left to right: baritone Michael Adams as Taddeo and bass-baritone André Courville as Mustafà.

Because the ensemble exchanges roles throughout the run of the show–the principals are typically double-cast–the AVA chorus is perpetually excellent and a highlight of any AVA show. And even though the role was smaller, Anush Avetisyan as the discarded wife Elvira and her clear soprano with its bell-like timbre brightened the stage with each entrance.

Alasdair Kent as Lindoro and Anush Avetisyan as Elvira

Costumes by Val Starr were lush and lovely–a sparkling cut above. While the turquoise palette used to represent Algier was so appealing, the portable blocks which seemed to be configured and reconfigured incessantly and nonsensically became distracting. Credit director Dorothy Danner for instilling in her cast a “show-must-go-on” ethos, or perhaps that credit is shared with the AVA faculty.

I was expecting the AVA orchestra to overpower the singers–the number of pieces alone (31!) was foreboding–but was pleasantly surprised by the control that conductor Richard A. Raub exerted over his musicians–their contributions were balanced and beautiful.

Not every company could’ve salvaged a show following a perfect storm of trouble, but they all deserve credit for weathering the unexpected woes. The cast was richly rewarded with applause and cheers at curtain call.

And  should this ever happen again, to the behind-the-scenes folks who did a heroic job notifying subscribers regarding the change of venue, don’t forget that those reviewing the show need to know this information in a timely fashion, too.  No reviewer likes to get a parking ticket just because she tried to make curtain at a dark and unfamiliar venue.

Leave a Comment

Filed under Classic Opera, Italian opera, music and humor, Opera and humor, Regional opera, Reviews

fresh and frothy ‘Barber’ kicks off Opera Phila’s 40th season

Operatoonity.com review: The Barber of Seville presented by Opera Philadelphia
Live performance: Sunday, September 28, 2014
The Academy of Music, Philadelphia, PA
Music: Gioachino Rossini
Text: Cesare Sterbini
4.5 stars

4.5strslg

 

 

The principals in Opera Phila's season opener delivered a real crowd-pleaser of a show on September 28

The principals in Opera Phila’s season opener delivered a zany crowd-pleaser of a show at the Academy of Music on September 28, 2014

Bravo! Bravo! Bravissimo! The planets must have been aligned (as were all the creative forces in play) over the Academy of Music on September 28, 2014 for Opera Philadelphia’s 40th season opening production The Barber of Seville.

What a wonderful romp! From the brisk and beautiful opening overture–from conception to execution–this was a frothy, foamy, and wholly hilarious show that made opera buffa as relevant and entertaining today as it was when it was written.

Credit the over-the-top direction by Michael Shell for the show’s overwhelming success. He envisioned a production as eye-opening as the one audiences experienced in Rossini’s day. Hence, we see carnival performers to dancing chickens to the lead tenor masquerading as a hippie-dippy music teacher. His entire creative team, including the whimsical set design by Shoko Kambara, carried out Shell’s vision to a tee.

The flavor of this Barber was rollicking, fresh, and fun. Director Shell credits Pedro Almodóvar for inspiring his treatment for this show. I suppose I am late to the Almodóvar party, but I do know the work of Almodóvar’s muse–Blake Edwards–and I guarantee you will recognize and appreciate the same absurd qualities of this show if you are a fan of the Pink Panther movies. This marked Shell’s directorial debut with Opera Phila, and I certainly hope it won’t be his last effort with Philly’s premier company.

The entire company was emotionally invested in pulling off this wacky ‘Barber’ from the moment that Figaro sung by baritone Jonathan Beyer rolled onto stage in a bright blue frock coat on a bicycle.

Jonathan Beyer cut a dashing figure as Figaro.

Jonathan Beyer cut a dashing figure as Figaro.

Beyer faces some daunting expectations playing one of classic opera’s signature roles and singing one of the most beloved and also challenging arias to kick off the show. He played a sturdy Figaro, but it was not a mind-blowing performance.  Clearly, he is not a Rossini baritone. And while the end result was solid, he seemed to be laboring very hard to achieve his sound. Since Figaro gets the last bow, you want to feel as though you loved that character the best. But in this production, Figaro was simply outsung, outplayed,  outperformed by Dr. Bartolo.

Dr. Bartolo?

Bass Kevin Burdette stole the show as Dr. Bartolo.

Bass Kevin Burdette stole the show as Dr. Bartolo.

There were many fine performances in this version of Barber, but bass Kevin Burdette as the ludicrously evil Dr. Bartolo absolutely stole the show–hands down.  I hardly recognized Burdette from his earlier star turn with Opera Philadelphia singing the loathsome Prophet in their stunning 2012 production of Dark Sisters. What a versatile talent Burdette is–as convincing in great comedic roles as he is in great dramatic ones! He is also obviously a human rubber band with the ability to twist his body into more convolutions than an unbaked pretzel all while seamlessly carrying off his vocals to great effect. He simply put the audience in stitches with each appearance.

Taylor Stanton sang the lovelorn Count Almaviva.

Taylor Stanton sang the lovelorn Count Almaviva.

Tenor Taylor Stayton as Count Almaviva was a great boon to the show’s success. His singing was also strong but not as effortless as Burdette’s.  However, his comic timing was spot on, particularly impersonating the psychedelic substitute music teacher.

Jennifer Holloway sang the role of Rosina.

Jennifer Holloway sang the role of Rosina.

As Rosina, apple of Count Almaviva’s eye, mezzo-soprano Jennifer Holloway was lovely to see and hear. In this zany production, Holloway reminded me of Marilyn in the old TV show The Munsters, in which everyone and everything around her is off-kilter, yet she has the grace and good looks to go with the flow and win everyone’s affection in the end. I would love to hear her in other roles. A very impressive performance!

Wayne Tigges turned in a hilarious Don Basilio.

Wayne Tigges turned in a hilarious Don Basilio.

As Rosina’s music teacher, bass-baritone Wayne Tigges delighted the audience with his rock-star aria delivered with bump, grind, and a fake microphone.  He proved a wonderful foil to soprano Katrina Thurman’s Berta, who took what might be considered a cameo or throwaway role and transformed it into a lustrous showcase of all her assets.

Katrina Thurman turned heads as the dishy Berta.

Katrina Thurman turned heads as the shapely Berta.

It was surprising to see how young many of the performers appeared in the program versus how they carried off older, more mature characters on stage with such aplomb. Credit must go to costume designer Amanda Seymour to wigs and make-up by David Zimmerman for the inspired platform they created for the performers to succeed.

Credit Opera Philadelphia conductor Corrado Rovaris for the glorious and controlled sound of the orchestra. The Barber of Seville is a long opera, and while the tempos were brisk, this is one opera that needs to keep moving.

In actuality, the production flew by. In no time at all, it seemed, everyone was on their feet at curtain call, rewarding the cast and conductor with a standing ovation for their efforts.

I am still hoping to see and hear a Figaro for the ages, which is why I gave this production 4.5 instead of 5 stars. But what a successful start to Opera Phila’s 40th season! I hope this augurs many more wonderful productions in 2014-15, for their 40th anniversary.

Leave a Comment

Filed under anniversary, North American Opera, Opera and humor, opera and romance, Regional opera, Reviews