| News |
| |
Articles |
| |
Interviews |
| July 15th, 2003 |
Source: San francisco Classical Voice All
rights reserved.
©2003 Janos Gereben, all rights reserved |
Lightning is not likely to strike twice. But this is Colorado, with
mighty summer storms every hour, on the hour, so double hits are more
possible, even in the opera house. And it did happen the next night, with a
delightful production of Rossini's L'Italiana in Algeri. It took only a few
measures of the familiar but tough and tricky Overture to know — at least,
to hope — that something good is happening again.
In the event, Hal France conducted an entire evening of exemplary Rossini:
straightforward, with consistent tempi, flawless balances, and not for a
moment giving in to the temptation to overplay dynamic contrasts. When
France — who conducts orchestras in Utah and Florida — comes to one of those
fff explosions or the peak of a crescendo, there is a rightness about the
sound; the music is almost subtle, never excessive or crude. So often
Rossini comedies are played for circus music; not here. Throughout the
performance, the orchestral balance with the singers was outstanding,
although the young, enthusiastic chorus at times could not be prevented from
impersonating the Mormon Tabernacle or the Red Army Chorus.
Prima l'orchestra?
France had a fine orchestra to help realize his vision of a "musical
Rossini." The string sections were relentless and enduring, the brass shone
in the second act, and the woodwinds were simply splendid, paced by Lisa
Martin (oboe), Catherine L. Peterson (flute), Stephanie Zelnick (clarinet),
and Jill Dispenza (bassoon). I admit that it's unusual to report about the
orchestra first in a production headlined by the force-of-nature Richard
Bernstein as Mustafa, with a terrific young mezzo and exceptional tenor in a
fine cast, David Gately's crowd-pleasing direction, Michael Anania's
hilarious set (populated by animal-cutouts), and the driving energy and
thunderous reception — but I found the subtle graces of the musical
performance compelling.
Besides France and the orchestra, credits should go to Thomas Getty and Sean
Kelly for musical preparation, and to John Baril — the conductor for
Pagliacci/Goyescas — who is the chorus master. (If he'd only turned the
volume down on his troops, all would have been perfect.) Well, yes, there
was Bernstein. Think of a combination of Yul Brynner, Attila the Hun, and
Bert Lahr's Cowardly Lion; add manic energy, overpowering presence, and a
voice shaking half the county. May be just as well to rename the piece "The
Bey of Algers," which is not to say that Bernstein performed apart from the
ensemble. He didn't, but he is just too big for a small house. Vocally, he
was accurate and entertaining, although some of the sheen of prior years was
missing.
If it weren't for her 100% female appearance (and some fabulous outfits,
coming either from the Washington Opera or the additional contribution of
Alice Marie Kugler Bristow), Viktoria Vizin, the spectacular Isabella, may
be mistaken for a male mezzo in drag. Perhaps better described as a female
baritone, Vizin packs unique power in the lower range (in a way quite
different from Marilyn Horne), she is solid through the entire extended
range of the role, and can even reach the high notes comfortably. Accurate
and projecting well, she makes for a remarkable singer, although there is an
element of self-consciousness in her performance that's still holding her
back.
No such problem for Brian Downden, the Lindoro, my favorite in this
exceptional cast. A young man of small stature and proudly exhibited
premature male-pattern baldness, Downden gives the impression of being
supremely comfortable on stage, and — more importantly — he sings without
the slightest effort. Here's a lyric tenor who could go to the top of the
genre and stay there for any number of years. His is a voice — flexible,
right on the money, and with beautiful clarity — that doesn't get old.
|
|
|
|
|
