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|Posted: Tue Nov 15, 2016 6:48 am Post subject: Who was clever without overly clever
No insights are offered into the human condition here; No probing commentary on was once the essential truths. preferably instead, We have the mythic, Stripped of its unnatural elements, Set to a string of high spirited Rossini tunes that range in emotional weight from ultra medium to light frothy.
It's a subdued and mostly non nutritive confection, But as we saw tuesday, A good one.
the success of the show mainly centered on two people: Mezzo soprano Joyce Campana, Who winningly described the title character; And movie director Linda Brovsky, Who imparted both genuine humor and a smooth, Tender hearted core to the proceedings.
Vocally, Campana showed a major league ability to barter the role's florid, Almost exceedingly athletic musical demands. This kind of fioriturafilled singing is allowed to be something that nobody can do anymore, But she showed a sure command of this requiring style. on top of, She was a subtle and sympathetic actress, Able to summon both deference and flexibility as the occasion required customized patriots jersey.
She was enclosed, in many instances, By solid help support.
As the two step sisters Clorinda and Tisbe, Laureen Vigil and Michele Henderson verified a nice flair, Flouncing and rewriting in their comic unloveliness.
Even funnier was Charles Damsel james white jersey, like Prince's valet, Dandini, Who for reasons like offering a moral lesson assumes for a while his boss' identity in this version of the story. Damsel, probably with help from Brovsky, Reeled off a regular flow of bits and business that kept the sometimes creaky pace of the libretto moving forward. He also sang in a hostile manner.
As the hapless papa, add Magnifico, Ryan Allen was valuable, in spite of his sputtering, Put upon buffoon schtick should be turned
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As the prince, Tenor Mark Thomsen had trouble rising to the example initially. He sounded muffled and not known, And his woodenness onstage suggested that he had been settling into the part. But as the night wore on, He found some additional self-esteem, Even soaring to a few fairly positive high Cs.
This production was a three way partnership between Connecticut Opera and Connecticut Grand Opera, situated in Stamford. the degree of opulence, Perhaps hence, Seemed a tad higher than we have seem nowadays. The serviceable, If not electrifying unit set by Thomas Donahue provided a plausible backdrop for royal doings, And the dominos looked snappy.
But the real heart of the show was brought to by director Brovsky, Who was clever without overly clever. It was especially nice to see the way she saw to it that the two lovers were able to maintain their dignity in the face of the silliness and venality around them.
Laurence Gilgore carried out rather flatly, Never somehow making those famous Rossini crescendos sound beneficial.
The show was a ringing affirmations, If any is needed here, Of going with supertitles, The English translations that are projected above the stage. The have fun meter, which has been active on this night, Would have been down by 60 or 70 percent with out them.
Opera reviews CENERENTOLA, Music by - Gioacchino Rossini, Libretto merely by Jacopo Ferretti; made by Laurence Gilgore; described by Linda Brovsky; Scenic design by thomas Donahue; Lighting created by James Franklin; attires by John Lehmeyer; Chorusmaster patriots custom jersey, Carole Ann Coyne Maxwell. brought by Connecticut Opera November 19, 20 and 21 at the Bushnell memorial.