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Women make the ‘Marriage’ in Philadelphia

Operatoonity.com review: The Marriage of Figaro presented by Opera Philadelphia, a co-production with Lyric Opera of Kansas City, San Diego Opera, and Palm Beach Opera
Live performance: Sunday, April 20, 2:30 p.m.
The Academy of Music
Music: W.A. Mozart
Libretto: Lorenzo da Ponte
4.5 out of 5.0 stars

4.5strslg

 

 

 Susanna (soprano Ying Fang) and the Countess (soprano Layla Claire)

The stellar performances of Susanna (soprano Ying Fang) and the Countess (soprano Layla Claire) made for a happy ‘Marriage’ at Opera Phila. | All photographs by Kelly & Massa for Opera Philadelphia

Art imitates life, it has been said. If women are the glue that holds many marriages together, surely the women performing in Opera Philadelphia’s spring production made for a happier Marriage of Figaro. Soprano Ying Fang, soprano Layla Claire, and mezzo-soprano Cecelia Hall reminded us over and over in their arias (and they have many arias in this l-o-n-g show) why we love Mozart. And how much Mozart must have loved women to give them so many glorious opportunities to be the glittering stars in his operatic firmament.

(mezzo-soprano Cecelia Hall)

Mezzo-soprano Cecelia Hall was delightful in her trouser role as Cherubino, who is smitten with all women.

Perhaps because the show runs long, conductor Corrado Rovaris chose a presto (molto!) tempo for the most beloved overture in operatic music, a tempo to make Mozart-loving hearts race. The Kentucky Derby should only run as briskly. The music and the performance of it by the orchestra and by the principal singers, eclipsed every other aspect in this production–the silly story, the heavy and cumbersome stage units, the occasional nonsensical set decor (what was living room furniture doing in a garden scene?), the confusing costuming. So allow me to vent some minor annoyances with this production so I can turn my attention what made this show really work.

Lamentation #1: This production premiered on May 1 in 1786. The merry month of May is Mother Nature’s gift to the Western Hemisphere. May is typically a fusillade of pink and white apple and dogwood blossoms, tidy and trim tulips, fragrant lilacs, and lush peonies. It’s when the earth comes alive again and reminds us why life is beautiful. So why the dark, heavy, colorless, lumbering set pieces in this show? Even the garden set looked more like a sepulcher–like the gloomy cemetery scene from Don Giovanni–than a garden full of romance.

Lamentation #2: The costume choices, especially for Figaro, were also an annoyance. In order to get this show past the censor, the creators played up the comedy and played down the political satire. Why confuse the audience any further by dressing Figaro like every other servant or valet? It’s an overly silly story and production companies shouldn’t rely on the arrival of any of the many popular arias in this show to clarify just who is who?

Lamentation #3: Lastly why was this production so dark? I longed for lightness, brightness, and flowers. Finally, the bright green gardener shows up to blow Cherubino’s cover, but it is too little greenery too late.

 Susanna (soprano Ying Fang) pretends to sing her love for the Count, as Figaro listens on.

Susanna (soprano Ying Fang) pretends to sing her love for the Count, as Figaro listens on, a very humorous conceit. But the garden looks more like a mausoleum hit by a tornado than a setting for romantic intrigues.

But, enough about some of this reviewer’s minor disappointments. If the voices are expected to thrill in this production, then thrill they did.

As Susanna, Figaro’s intended, Chinese Soprano Ying Fang was a sheer delight in every scene, in every way. In voice, carriage, appearance, Fang, who New York critics called “a star in the making,” was the ideal soubrette. She has a sweet clear soprano voice like a silver bell, eager to make a favorable impression. The audience hung on every note of the renowned Sull’aria, perfectly sung with Canadian soprano Layla Claire. It was one of those treasured opera moments that would have been perfect to capture and then replay on a gloomy day to make your soul feel light and bright again.

 Susanna (soprano Ying Fang) overhears Marcellina loudly declaring Figaro will only marry her for money

In this scene, Susanna (soprano Ying Fang) overhears Marcellina loudly declaring Figaro will only marry her for money.

American soprano Cecelia Hall deftly delivered another jewel from Mozart’s ‘Marriage’ hit parade in her song of love “Voi che sapete.” Simply splendid in tone, pitch, and voicing! And expectations loomed high for this and all the beloved pieces from this well-known opera. In her trouser role, Hall turned in a charming overall performance and later in the show, she tossed in a few strains of “Finch’han dal vino,”  replete with boyish charm and hubris as a bit of stage business. Your cleverness was not lost on this Don G. fan, Ms. Hall.

 Cherubino (mezzo-soprano Cecelia Hall) serenades Countess Almaviva (soprano Layla Claire) with a song.

Cherubino (mezzo-soprano Cecelia Hall) serenades Countess Almaviva (soprano Layla Claire) with a song.

Cast as the lovelorn wife whose husband has a roving eye, Layla Claire sang and acted the role with sensitivity and believability–not always easy to do in an opera with an over-the-top storyline. She was brought to Philadelphia for her “virtuosic singing,” and her Broad Street debut didn’t disappoint. While the Countess doesn’t have the pluck Susanna does, she isn’t without contrivances, having agreed to exchange outfits with Susanna for the gloomy garden scene in order to trick her philandering husband. And of course she forgives him (but, without getting too political), isn’t it entertaining when women don’t let their men off the hook for the indiscretions? Politicians’ wives, take a note.

The men’s cavatinas and arias were sturdily sung by Pennsylvania’s own bass-baritone Brandon Cedel as Figaro and German baritone John Chest as Count Almaviva. Cedel’s comic timing was at its best during the scene when he learns that Marcellina is his mother and Bartolo his father.

The propensity for infidelity is hardly the most attractive quality in any man, but truth be told Chest made himself hard to resist in this scene because of his leading man qualities in voice and stature. (But resist she does because she loves Figaro.)

 The Count (baritone John Chest) thinks he has seduced Susanna (soprano Ying Fang); all the while, Susanna plans to reveal his infidelity.

The Count (baritone John Chest) thinks he has seduced Susanna (soprano Ying Fang); all the while, Susanna plans to reveal his infidelity.

All the buffo or stock characters–mezzo-soprano Lucy Schaufer as Marcellina, bass-baritone Patrick Carfizzi as Bartolo, and tenor Jason Ferrante as Don Curzio–delivered scene-stealing comic turns.

Figaro (bass-baritone Brandon Cedel) comes to grips with the news that Marcellina (mezzo-soprano Lucy Schaufer) is, in fact, his mother and Bartolo is his father.

Figaro (bass-baritone Brandon Cedel) comes to grips with the news that Marcellina (mezzo-soprano Lucy Schaufer) is, in fact, his mother and Bartolo is his father.

However, all the men were stellar when singing in company with the women in every Mozartian ensemble piece (and there are so many powerful ones in this show): the glorious 20-minute finale of (the traditional) Act II, the sextet in Act III , and the music and singing featured in the opera’s explosive conclusion, perfectly timed for a standing ovation.

Bartolo (bass-baritone Patrick Carfizzi), Marcellina (mezzo-soprano Lucy Schaufer), Figaro (bass-baritone Brandon Cedel) and Susanna (soprano Ying Fang) rejoice over their newfound happiness.

Bartolo (bass-baritone Patrick Carfizzi), Marcellina (mezzo-soprano Lucy Schaufer), Figaro (bass-baritone Brandon Cedel) and Susanna (soprano Ying Fang) rejoice over their newfound happiness.

The applause for the ladies of the ensemble was the most generous at curtain call, and deservedly so. However all the performances were strong in this show, with many virtuosic moments. I just wish that the design elements worked in tandem with the essential springtime spirit of the show to lift the soul as much as Mozart’s well performed music.

***

Opera Philadelphia opens their 2017-18 season with a blockbuster festival, Festival O17. More details available here.

 

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Turandot a triumph for @OperaPhila

Operatoonity.com review: Turandot presented by Opera Philadelphia
Live performance: Sunday, October 2,  2016, 2:30 p.m.
The Academy of Music, Philadelphia, PA
Music: Giacomo Puccini
Libretto:  Giuseppe Adami and Renato Simoni
5.0 out of 5.0 stars

five stars

 

 

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Princess Turandot (soprano Christine Goerke) has vowed never to marry unless a man of noble birth can solve her three riddles. | Photo by Kelly and Massa for Opera Philadelphia

Some say Turandot, Giacomo Puccini’s final opera, unfinished when he died, is his tour de force. Puccini lovers including a number of Operatoonity.com readers cite its adventurous musical qualities. Lush orchestration with exotic Asian elements, both instrumental and compositional. Not to mention opera’s most famous tenor aria “Nessun Dorma.”

Puccini’s magnum opus may prove to be Opera Philadelphia’s tour de force this season. Their Turandot was nothing short of fearless and peerless spectacle, boldly embracing both the mystery and vibrancy of Asian culture on every level–sight, sound, movement, concept, staging, lighting, costume. It was the most mystical, moving mainstage production I’ve witnessed in five years.

 Princess Turandot (soprano Christine Goerke) has vowed never to marry unless a man of noble birth can solve her three riddles. | Photos by Kelly and Massa for Opera Philadelphia

Princess Turandot (soprano Christine Goerke) has vowed never to marry unless a man of noble birth can solve her three riddles. | Photos by Kelly and Massa for Opera Philadelphia

However, not because of the title character, sung in this production by dramatic soprano Christine Goerke. The storyline builds up Turandot’s first entrance so unrelentingly and thoroughly that the audience’s anticipation of their first glimpse and hearing of the frosty princess is palpable. Perhaps only ghosts of opera greats Sutherland and Tebaldi could satisfy this pent-up expectation for an imperiously icy Turandot who sings in unforgettable form.

Princess Turandot (soprano Christine Goerke) addresses Calaf, who has announced he will attempt to solve her deadly riddles. | ohotos by Kelly and Massa for Opera Philadelphia

Princess Turandot (soprano Christine Goerke) addresses Calaf, who has announced he will attempt to solve her deadly riddles. | photos by Kelly and Massa for Opera Philadelphia

Goerke sung a serviceable Turandot but not a great one. She was stronger in her third act duets with Prince Calaf than in the second, when she first appears. She screeched a few high notes in “In questa reggia,” the aria during which she explains that the obscure riddles are intended to avenge her ancestress, killed when an evil warlord conquered her kingdom.

“An evening never recovers from a cracked high note. It is exactly like a bullfight. You are not allowed one mistake.”  — Luciano Pavarotti (1935-2007) 

Granted, this may be the most difficult soprano role Puccini ever wrote, requiring the talents of a legendary soprano like Birgit Nilsson. However, Goerke sang the role at the Met last season. If she is considered one of the best of her contemporaries, that is not the Goerke I heard that afternoon.

 Liù (soprano Joyce El-Khoury) explains how she has stuck by her master, Timur, because his son, Calaf, once smiled at her.

Liù (soprano Joyce El-Khoury) explains how she has stuck by her master, Timur, because his son, Calaf, once smiled at her.

By contrast, from the first note of her first aria, soprano Joyce El-Khoury sang a meltingly lovely Liù that compelled listeners to lean in to capture every note.  The show may be entitled Turandot, but in this production, El-Khoury’s Liù captured the devotion of the audience and the heart of this critic.

Calaf (tenor Marco Berti) declares he will put his life on the line to win Princess Turandot’s heart. Photos by Kelly and Massa for Opera Philadelphia

Calaf (tenor Marco Berti) declares he will put his life on the line to win Princess Turandot’s heart. Photos by Kelly and Massa for Opera Philadelphia

As The Prince with No Name, tenor Marco Berti, faces a daunting professional challenge because “Nessun Dorma” is all but attached to the ubiquitous Pavarotti version. Berti’s take was beautiful and powerful, and the audience lauded him for his effort.  His overall performance was sturdy, if a little wooden, especially when Liù pours out her secret love for him. Based on his performance, the supertitle of his reaction to her heartfelt, heartbreaking confession should have been, “Meh.”

The exiled king Timur (bass Morris Robinson) discovers his slave girl, Liù, has sacrified herself for love. | photos by Kelly and Massa for Opera Philadelphia

The exiled king Timur (bass Morris Robinson) discovers his slave girl, Liù, has sacrified herself for love. | photos by Kelly and Massa for Opera Philadelphia

Bass Morris Robinson’s performance as King Timur was pitch perfect in every way. His voice was in excellent form and his sympathetic characterization of an exiled, broken ruler authentically and deeply felt.

While the opera company did not furnish a production photo of Ping, Pong, and Pang to share with Operatoonity.com readers, much to my chagrin, this reviewer would be remiss not to fete them as a highlight of this production. Daniel Belcher as Ping, Joseph Gaines as Pong, and Julius Ahn as Pang were frighteningly entertaining, at times barbaric, and also, in one shining number, highly sympathetic, as they recounted their previously happy lives in peaceful hometowns before being summoned into service for the Princess of Death.

Now that’s range!

Perhaps Opera Phila didn’t want to fuel any more complaints of ethnic stereotyping by providing pictorial evidence of these portrayals. However, just like the fictional kingdom in which they serve, these characters were a brilliant mash-up of more world cultures than a Kia Soul commercial and no genuine cause for concern–at least in this production.

The entire opera chorus from the littlest priest to all the villagers living under Turandot’s tyranny (the show’s Greek chorus) to the lithest dancer deserves kudos. So does conductor Corrado Rovaris and his versatile opera orchestra, whether playing gongs, indigenous instruments, or Western ones merely tuned to sound like they are native to the Far East.

Riddle me this, Operatoonity.com. If the performances weren’t five stars with every turn (except for El-Koury and Robinson), why the five-star rating? The direction, the orchestra, the spectacle, the high concept were out of this world.

Director and Choreographer Renaud Doucet staged an arresting, layered production that must be experienced. The stunning lighting, staging, and choreography of this show have already premiered at companies with whom Opera Philadelphia is co-producing this show including Minnesota Opera, Cincinnati Opera, Pittsburgh Opera, Utah Opera, and Seattle Opera, but (with any luck) not all.

A singularly original and richly satisfying opera. That’s what Opera Phila brought to the City of Brotherly Love. Turandot was a triumph. Simply put, Turandot is Opera Philadelphia.

 

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Opera Phila’s ‘Elixir’: Just What the Doctor Ordered

Operatoonity.com review: The Elixir of Love presented by Opera Philadelphia
Composer: Gaetano Donizetti with text by Felice Romani
Live performance: Sunday, May 8, 2016
The Academy of Music, Philadelphia
4-stars

 

Opera Philadelphia closed its mainstage season with the potboiler The Elixir of Love. The show was rollocking good fun, and, a lot like the last professional Elixir I saw at New York City Opera in 2009, the production ushered a rising star into the opera firmament. In 2009, that star of the NYCO show was David Lomeli as the lovestruck Nemorino. In Opera Phila’s version, the luminous soprano Sarah Shafer, a Curtis Institute of Music graduate from State College, Pennsylvania, ensconced herself as a talent to remember:

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Sarah Shafer as the petulant, flirty Adina was a standout in Opera Phila’s springtime show. Photos courtesy of Opera Philadelphia

In this version, Adina was a country schoolteacher in the 1940s after WWII, who opens the show by telling pupils and villagers all about Isolde falling for Tristan after he drinks the magic potion in the classic myth. Had she been asked to portray Adina as a fishwife, GI Jane, or a blood-soaked zombie, nothing could have diminished her impact on this production. The audience hung on Shafer’s every note, from her first appearance in Act I until her Act II aria “Prendi per me sei libero…,” a glorious version, easily sustaining the legato passages, and effortlessly reaching her top notes with the clarity and sweetness of a silver bell. She is a preeminent lyric soprano and poised for even greater roles and stages.

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Tenor Dimitris Pittas sang the role of Nemorino

As the lovestruck Nemorino, New York tenor Dimitris Pittas showed off his stellar comic timing. He was a lovable, empathetic schlub for most of the show, which is most of what is required of the role. According to a press release dated April 21, Pittas stepped into the role only a week before the show opened because the previous tenor was stricken ill. Carrying the lead role on such short notice deserves recognition. However, this reviewer can only critique the show she saw. Pittas was handed the aria of a lifetime in “Una Furtiva Lagrima,” which was a fine vocal showcase for him but not the showstopper I had hoped for. Pittas absolutely did a serviceable job and after his noteable performance in Opera Phila’s Don Carlo, I hope to see him again soon, perhaps in the 2016-17 season.

Baritone Craig Verm as Belcore

Baritone Craig Verm as Belcore

If Donizetti handed Nemorino the aria of a lifetime, then he bestows the comic role of a lifetime on the opera singer who portrays Sergeant Belcore. Belcore is an over-the-top character. To perform the role with too much swagger is probably impossible. While baritone Craig Verm was amusing and well caricatured, I was *selfishly* hoping for a bigger overall performance to contrast with Nemorino’s ingrained schlubiness, like Brutus to Wimpy. Verm sang the role well and cut a handsome figure. Coming into the show, I came down with a bit of a fever, however, a fever for some beloved Elixirs of years gone by. The only prescription would have been more swagger from Belcore.

Kevin Burdette as Doctor Dulcamara

Kevin Burdette as Doctor Dulcamara

One of my favorite Phila Opera regulars is Kevin Burdette. I have seen him excel in a range of parts. He can be menacing (Dark Sisters) and he can also be knee-slappingly funny (The Barber of Seville). Lately he has been handed several funnyman roles in Opera Phila productions and never disappoints. His characterization while singing contrapuntal patter passages was praiseworthy. Burdette won’t sacrifice one bit of his character to achieve operatic heights and this reviewer deeply appreciates his total immersion into character.

The controlling concept–an Italian countryside tale post-WWII–lent itself to some clever set devices, including the quaint billboard on which numerous images revolved. Kudos to all the behind-the-scenes talent, all of whom were Opera Phila newcomers, who made this a successful show–Director Stephen Lawless, Set Designer & Costumer Ashley Martin-Davis, and Lighting Designer Pat Collins.

In the background is the colorful period billboard promoting olive oil

In the background is the colorful, period billboard promoting olive oil

It seems like the orchestra and chorus always get mentioned in the last portion of my reviews. In the scoring of Elixir, Donizetti himself made his orchestra serve the singers rather than the other way around. In the production notes, conductor Corrado Rovaris says he sought to draw out all the emotional colors in this opera, including melancholy, which he readily accomplished. I have come to appreciate that Rovaris can conduct anything with aplomb and surrounds himself with talented, versatile musicians, coaxing many diverse sounds and styles from them, time and time again.

Overall, this was another winning production from a winning company featuring some new backstage blood and capitalizing on the talents of opera performers in Opera Phila’s growing stable of first-rate performers. I look forward to Opera Phila’s enterprising 2016-17 season, and hope to have the privilege to bring you more Operatoonity.com reviews next year.

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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.

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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:

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“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.

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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.

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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.

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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.

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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.

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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.

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