Los Angeles Opera - Il barbiere di Siviglia, 2/1
San Diego Opera - Norma, 2/23
West Bay Opera - Un Ballo in Maschera, 2/23
Opera Pacific - Salome, 2/25
 

Dorothy Chandler Pavilion, Los Angeles
Feb 7, Il barbiere di Siviglia

Michael Hempe staged a thoroughly successful production of Rossini's Il barbiere di Siviglia.  He demonstrated that this work is not just an amusing comedy, but a genuine social critique. 
 
On this first night, Gabrielle Ferro's conducting provided some lively Rossini and gave his singers the necessary freedom to add additional ornaments.  Carmen Oprisanu's sweetly sung Rosina was more docile than vipera; nevertheless, she displayed coloratura of the highest quality.  Bruno Pola avoided any trace of overacting as Bartolo.  John Osborn took a while to warm up as Almaviva and gave a pleasant, fluid reading of the Count's lyric passages.  Simone Alberghini's Basilio was a scheming fellow confident in his craft.  L.A. Opera veteran Suzanna Guzman was a characterful Berta.  Vladimir Chernov was an unexpected delight as Figaro, limpid in tone and agile in motion –  a welcome change from his usual roles of the 'heavies'. 

The period set and costume by Mauro Papano nicely complemented the Hempe's staging – a sort of nostalgic look at the rococo age of Enlightenment, with more than a hint of irony that drives home the opera's original message: "The Useless Precaution". 

Il barbiere di Siviglia plays at the Dorothy Chandler Pavilion through Feb 23.  Tickets are $15 to $170.  (213) 365-3500
 

Civic Theater, San Diego
Feb 23, Norma

Russian lirico-spinto soprano Galina Gorchakova is an odd choice for Norma -- Bellini by way of Verdi and Puccini, as opposed to the more traditional approach via Mozart and Beethoven examplified by Lilli Lehmann, the first Met Norma in 1890. 

Ms Gorchakova's valiant efforts, although not entirely stylish, conveyed much of Norma's womanly grace in a superbly voiced "Casta diva" and particularly in the slow concertato of the Act Two finale.   Most of the time, however, one was more conscious of the great technical efforts being expended on the role than the dramatic interpretation of it.  A successful Tosca in the past season does not guarantee a successful Norma in a future reason.  Ms. Gorchakova's Norma is symptomatic of today's opera, where financially-strapped impresarios engage singers based on their PR appeal rather than vocal abilities.

Similarly, as Norma's ex-beau Pollione, tenor Hugh Smith is no master of the coloratura.  His attempted persuation of Adalgisa in their Act Two duet together merely sounded labored and inelegant.  Marianna Pentcheva was the best singer in the cast, fluent in the art of the florid song and passionate in its utterance.  Bass Pavel Daniluk was a rich-voiced Oroveso, soprano Lori Stinson a dutiful Clotilde, and tenor Beau Palmer an engaging Flavio.

Conductor Richard Bonynge's reputation as a singer's conductor par excellence was in ample evidence here, in the perfect rapport that he achieved from the outset between the pit and the stage.  Under Bonygne's baton, the uniquely Bellinian blend of shimmering strings, harp arpeggios and plangent flutes in the Act Two finale shone forth like a bright moon beam through the veiled beauty of Bellini's score.  Thanks to Bonynge's compelling musical direction, wanting only a little rhythmic bite here and there, the predominately coloratura-challenged principals seemed better than they really were.  The San Diego Opera chorus turned in a fervent performance as the blood-thirsty, war-mongering Druids.

Designer John Conklin and director John Copley have both done better works elsewhere.  The garish costumes and sparse set (dominated by a larger-than-life moon in Act One and Irminsul shield in Act Two) are embarrassing to behold.

A side note:  I scanned the audience in vain for Dame Joan Sutherland, a fine Norma in her days with Marilyn Horne as Adalgisa.  Her absence was keenly felt -- both physically (in the audience) and metaphorically (on stage).

The San Diego Opera's Norma will be broadcast on Sunday, June 8, 2003, at 7pm on KPBS 89.5/89.1FM, La Jolla.

 

Lucie Stern Theater, Palo Alto
Feb 23, Un Ballo in Maschera

I never cease to be amazed at the wealth of talent in the Bay Area, in the area beyond San Francisco's Civic Center.  West Bay Opera mounted a very fine production of Un Ballo in Maschera, one of Verdi's most dramatic operas. 

The story is rather straightforward for opera.  A "nice guy" King Riccardo falls for his Amelia, wife of his faithful advisor Renato..  The feeling is mutual and Amelia seeks out the local enchantress Ulrica in an attempt to procure a potion to rid her of her attraction to Riccardo.  The populace en masse converges on Ulrica's hut where she directs Amelia to pick an magic herb which grows by the gallows.  Ulrica also predicts that Riccardo will be assasinated by a close friend.  Cut to the gallows at midnight, Riccardo and Amelia declare their love for one another but realize that their love must remain chaste.  Assassins converge, the King escapes and Renato realizes that it is his wife who has betrayed him in what Renato believes to be a tryst with the King.   Renato and the conspirators draw lots to see who will assassinate the King at a gala Masked Ball that evening.  Renato is chosen to murder the king.   Oscar, the loyal page, brings the King a note from Amelia warning of the assassination.  But it is too late; Riccardo knows no fear and is slain at the ball.  His dying words attest to Amelia's innocence and with his dying breath, begs the court to seek no vengeance against his assassin. 

Minimalist court sets and ambitious costumes evoked 19th Century European court.  Designer Jean-Francoix Revon pulled out the stops for the scene at Ulrica's cave and the Act II gallows scene.  The director utilized the steeply raked stage, carpeted with smoke for a suitably eerie atmosphere.  Chad Bonaker's lighting effects were especially attractive in the soft moonlit gallows scene.  I particularly enjoyed the ball scene, usually difficult to stage with masked courtiers rushing in and out.   Here the courtiers slid back behind an artfully lit gauze backdrop and were shown dancing in silhouette.    The fainting couch rushed in at the end for Riccardo's death monologue and the angel standing nearby were too precious for what was otherwise a very exciting finale.

(Left to Right) Christopher Campbell as Riccardo, Karen Anderson as Amelia, Michael Rogers as Renato

The singing was uniformly excellent.  However, the star of the show was clearly Karen Anderson as Amelia.  This was a vocal and acting performance worthy of any opera house large or small.  I had not heard Ms. Anderson since her spellbinding Suor Angelica in Walnut Creek some years ago.  Her voice was stunning and secure from her soaring high notes to the very low notes required in the gallows scene.  I couldn't wait for her next entrance because I knew she would keep getting better.  Another standout was the Oscar of  Arden Kaywin.  Ms. Kaywin's gorgeous, fleet coloratura and crystalline diction were a delight.   This gifted young artist's innate musicality and naturalness made for a believable adolescent boy.  I was surprised that Riccardo, Christopher Campbell mentioned that he was bothered by allergies because it wasn't evident in his ardent singing.  I appreciated his playing Riccardo as a kind and generous monarch, underscored by the sincerity in his voice.  Michael Rogers sang the role of Renato with a lovely burnished tone, believably heart broken when he discovered Amelia's betrayal.  Rich-voiced mezzo Donna Olson sang her spooky Ulrica perilously suspended above the stage.  Rounding out the cast were the dastardly bass-baritones John Minagro (Ribbing) and  Michael Morris (Horn).

The orchestra led by Alexander Katsman sounded much larger than their number.  The conducting was forceful and brisk, ably supporting the drama being played out on stage.  I was especially delighted by the fabulous string section and Concertmaster Virgina Smedberg.  Wendy Tamis worked heavenly magic on the difficult harp score.

West Bay Opera concludes its 47th season in May with Jacques Offenbach's delightful comedy La Périchole.   Performances are scheduled for May 23, 24, 25, 30, 31 and June 1.  I urge you to come see and hear one of the San Francisco Area's great musical treasures.

-Reviewed by Terri Stuart
 

Segerstrom Hall, Costa Mesa
Feb 25, Salome

(L) Turid Karlsen as Salome  (R)Christopher Robertson as Jochanaan

This was probably the most graphic production of Salome I've seen.  Director Ian Judge shows the eerie, moonlit world of Salome in shocking, lurid details.  The set by Tim Goodchild is a simple curving staircase leading up to a gallery, gold-colored metal and palm trees against a deep blue background. At stage level are a few steps stage right, and a cistern down left. Costumes are Victorian gowns for the women, generic "Biblical times" garb for the men of the court and Jochanaan, and Hasidic dress straight out of Brooklyn for the five Jews. 

Turid Karlsen as Strauss's Nasty Girl perfectly captured the spoiled child-nymphet-monster, vamping, imperious, pouting by turns, and desperately oversexed.  Gleaming in a white gown, she tossed her long curly hair, rolled about the floor and rubbed against the cistern cover, and threw the occasional tantrum.  For the dance of seven veils (by dance-double Erin Basta), Salome had the assistance of 6 boy-toys, using their sashes for veils (since she only wore one of her own), waltzing and gyrating with them, and having them remove parts of her clever ball gown which morphed into belly dance get-up, which didn't stay on for long.  She shimmied up to Herod and removed her rhinestone bra, then darted upstage.  Ms. Karlsen performed Salome’s climactic monologue rolling around the floor with Jochanaan's freshly decapitated and dripping head, messing up her white silk robe and splattering the set.  Alas, if only the voice matched the acting.  The voice was tiny and shrill, barely audible, and at times degenerated into sprechgesang.

Patrick Marques was a lyrical Narraboth.  Christopher Robertson was a most charismatic Jochanaan, passionate rather than ascetic in his faith, and feral in his revulsion for Salome.  His powerful voice sounded like the voice of God.  Allan Glassman was a respectable (if that's the word) Herod without the neurotic, crazed intensity one might want.  Milena Kitic’s Herodias offered the most satisfying, colorfully drawn portrayal of the evening, vocally as well as dramatically.  The five Jews were all capably sung by members of Opera Pacific’s young artists program.
 

(L) Milena Kitic as Herodias  (R)Allan Glassman as Herod

Conductor John DeMain’s sweeping, high-octane reading of the score might just be a bit over the top at times.   But it proved theatrically effective, as Jochanaan was not the only one to lose his head in the tumultuous standing ovation at the end of the evening.

Opera Pacific presents five performances of Salome, on February 25, 27, 28 & March 1, 2.  Nina Warren will sing the title role on Feb 28 and Mar 2 -- without a dance-double.

All reviews by Truman C. Wang,unless otherwise noted.

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