December, 2006 - Nr. 12
Opera York’s 10th Season
Starts Strong
Sybille Forster-Rentmeister
The
performance of "The Marriage of Figaro" was exactly the reason why people go
the opera. It was fun for the whole family!
The entire incredible effort that went into producing this
Mozart favourite for just 2 performances is to be applauded by all involved.
One
imagine a full production in Italian with subtitles in English, nine
soloists and a chorus, an orchestra, an artistic director and conductor, a
set designer and stage manager, someone to look after costumes and lighting,
and , and…and they are all having fun! Just like Mozart intended!
Great acting
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When all the technical aspects come together beautifully with the artistic perspectives, when the talent is happy and able, when the theatre is full as it was, then enthusiasm develops that is like a wave, which sweeps across the audience and carries it away onto a sea of pure pleasure that goes beyond spectatorism. One becomes part of the proceedings on stage, is part of the cast, and knows when something is moving well and deserves extra applause or is asking for a pregnant pause in anticipation of the plot development. One gives in to the rhythm of the music, to its alluring qualities, to its counterpoint concoctions. One waits for the next funny moment like one waits for a bonbon to melt in one's mouth, and when it happens one is happy that one did not miss the moment.
Plotting/Counter-Plotting
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Such moments were created with the Marriage of Figaro.
Especially Lucia Cesaroni as Susanna, being almost non-stop present, brought
to the stage an incredible energy. She sparkled in the chemistry that
developed between her and Andrew Tees as Figaro. Her effervescent
personality, her fabulous soprano, reminding me a little of a Callas
colouration, totally commandeered the plot.
Her
acting ability set the standard for this production and every other
performer outdid him or herself, perhaps because of it.
Andrew Tees was his usual onstage extrovert. We have come to
love his big gestures and big strides on stage, and his pleasant baritone
voice booms with quality precision through the theatre. He and Lucia
Cesaroni
had excellent timing between each other, as did the rest of the cast, which
is very important to deliver potentially funny lines.
The character of Cherubino, a "Hosenrolle", was acted well
by Adriana Albu, even though the fresh
young voice was perhaps a bit too feminine. Such parts are always difficult
to balance and portray, but are nevertheless great fun and add to the
confusion of the plot, if involuntarily.
The pompous and philandering Count Almaviva was made to be very authentic by Matthew Zadow, baritone, a protégé of Bruce Kelly.
Mounting Tensions
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Stacy Carmona, another fine soprano voice, sang the Countess
Almaviva. Her ability to portray the prim and proper wife, bemoaning her
husband’s straying ways, gave
the
whole plot a believable anchor.
Ramona Carmelly, mezzo Soprano, as Marcellina manages quite well to turn herself from besotted bride to adoring mother, and Gerrit Theule and Joseph Antonio both perform dual roles and filled in the ensemble extremely well.
Geoffrey Buttler managed the talent of these fine performers
as well as the orchestra very well, allowing them their personal
temperamental choices to strengthen the plot. Madeline Young made sure that
everything ran smoothly as stage director and the set design of Frank Pasian
allowed free movement to flow on stage.
It
was nice to see those columns from the Magic Flute back on stage. It shows
that the company is developing a good base of props and elements for future
productions.
We can hardly wait for the next offering, which will be Verdi’s La Traviata in March with Sinead Sugrue as Violetta, Sabatino Vacca conductor and Artistic Director. Go to www.operayork.com to find out more.
Big Curtain Call
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Next for us before Christmas is Via Salzburg with a seasonal offering at the Glenn Gould Studio, Toronto, on December 14 and 15. More under
www.viasalzburg.com .
