Reviews
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Lively "Lucia" storms stage, renews patronsBy Kenneth LaFave TUCSON - It wasn't quite a brand new Arizona Opera onstage last Friday. But the audience seemed renewed.
Enthusiasm smoldered in the Tucson Community Center Music Hall throughout Lucia di Lammermoor, the company's first production under the auspices of its new general director, David Speers. And that enthusiasm erupted at the end in a tumultuous standing ovation. Since Speers took over July 1 from longtime impresario Glynn Ross, excitement has been building over expected changes in the company's casting, scenic design and stage direction. And indeed, many positive changes were in place Friday night, producing a Lucia that both caught fire musically and presented a credible dramatic framework. While it's neither accurate nor fair to say that the quality was due entirely to a change in leadership made less than four months ago - Arizona Opera has been a solid producing organization throughout its 15 years under Ross - it was apparent that a greater dramatic cohesion, better and more energetic singing from the chorus and a more consistent level of talent among principal singers was evinced than has previously been the norm. Chief among the things making this a potent Lucia was the conducting of Cal Stewart Kellogg, new to the Arizona Opera podium. Currently music director of Austin Lyric Opera, Kellogg led Donizetti's rather foursquare score with an urgency some reserve for Puccini, bursting its restraints and converting it to almost verismo emotional heights. Kellogg led a very young cast of bright, capable, enthusiastic singers. American coloratura Jane Giering-DeHaan made her company debut as well as her debut in this very demanding role, and came off polished and memorable. Giering-DeHaan owns a light voice she employs with the agility of a hummingbird. The pinpoint precision with which she sang the famous mad scene and the delicate ensemble she produced with flutist Linda Lasansky in that scene's extraordinary and unique climax were high points. Her Edgardo was Michael Rees Davis, an accomplished American tenor with an easy spin to his sound, who brought dramatic punch to the role of Lucia's lover. The last scene can be anticlimactic, following as it does the title character's bloody revelation, but Davis made us care about his character's fate. Baritone Peter Barcza's Enrico was engaging and sympathetic, tenor Erik Sparks' Arturo aptly haughty and the familiar trio of Arizona comprimarios - Benjamin Sorenson, Korby Myrick and Reynaldo Romo - first-rate. Stage director Michael Cavanaugh, on loan from Canada's Edmonton Opera, where he is artistic director, kept the story line clear, while underpinning it here and there with visual motifs. For example, watch for the removal of a wig in the second act that has tragic resonance in the last. Cavanaugh also moved the chorus about the stage with startling ease during the huge ensemble scene in Act II. Even more remarkable for this chorus was its fresh sense of musical unity and boldness, for which new chorus master John Massaro must surely receive credit. Less enthusiasm was due the scenic elements, which conspired to produce monotony rather than the Scottish gloom they were perhaps intended to convey. The set, on loan from Flordia Grand Opera, the costumes from Utah Opera and Steve Ross' lighting design at least worked together rather than clashing with each other. Note: The roles of Lucia and Edgardo will be sung Friday and Sunday by the singers mentioned above, but will be sung tonight and Saturday by Constance Hauman and Brian Nedvin.
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Lucia Di Lammermoor (Synopsis) |
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