Ohio
Theater
June
15
Marco Stella shone in Opera Circle's downtown debut. |
Opera
Circle is the little company that could. Give Dorota Sobieska and
Jacek Sobieski a community hall or church sanctuary and a few
musicians, and they will put together a credible and entertaining
production. Saturday night marked a big step for their organization,
a chance to go downtown and show what they can do on a big stage at
Playhouse Square.
Their
spirited Rigoletto suggests that Opera Circle is ready for
prime time.
The
evening opened, as always, with a welcome from Dorota that was more
than just a perfunctory courtesy. She noted the significance of the
occasion, assured the audience that “your presence here is
precious,” and perhaps most importantly, set the production in
context: “Our mission is to keep opera open and available to
everyone.” That means minimal sets, an ad hoc group of performers,
and the meager funding spent mostly on colorful costumes and
professional singers – a volksoper approach that puts the
art form, rather than big stars or egos, front and center.
That
approach also favors warhorses like Rigoletto,
chosen to attract the widest possible audience rather than break any
new ground. But there’s no arguing with the underpinnings of Opera
Circle productions. Jacek was music director of the National Theater
in Warsaw, Poland for almost two decades, and has conducted operas
throughout Europe. Dorota trained at the Fryderyk Chopin University
of Music in Warsaw and has sung in a variety of recital, orchestral
and operatic settings in the U.S. and Europe. So they know how to put
on a show.
Rigoletto
was helped greatly by two solid male leads – American tenor Isaac
Hurtado as the philandering Duke of Mantua, and Italian baritone
Marco Stella in the title role. Hurtado has a strong, expressive
voice that was evident from his opening “Questa o quella” aria
and particularly seductive in the Duke’s ode to love that opens Act
II. Hurtado’s acting skills are equally good, which gave his
character just the right mix of charm, ardor and guile. The carefree
cynicism of his “La donna è
mobile” refrain in the final act added a chilling undertone to the
tragic denouement.
It
was surprising to learn that this production marked Stella’s debut
as Rigoletto. He owned the role from his moment he appeared in an
over-the-top jester’s costume, reveling in his caustic abuse of
noblemen and slowly dissolving into self-pity, vengeance and despair
as the evening unfolded. Not much more than awkward padding under his
costume marked him as a hunchback, and his portrayal may have been
too soft for some tastes. But Stella brought humanity to a role that
often lacks it, and his recriminations had a convincing bite.
Dorota
Sobieska was less convincing as Rigoletto’s doomed daughter Gilda,
partly because she is
too old for the part and partly because of uneven singing. The talent
is there; when she hits the combination of full voice, emotional
expression and technical expertise, the results are wonderful. Her
high C# to conclude the “Caro nome” aria in Act II was stunning.
But sometimes she could barely be heard.
To
be fair, Sobieska was also in charge of stage direction, sets and
costumes for this production. With a workload like that, something
inevitably suffers, especially in a one-off performance. Singing is a
matter of taste, but the irate couple in the fifth row who had their
view of the surtitles blocked by a clumsy prop arrangement in the
second act probably won’t be back.
Minor glitches have always been part of the Opera Circle package, and
probably always will be. What matters is the spirit of the
productions – enthusiastic, well-informed and steadfastly
professional. The pacing is right, the singers and chorus move
properly onstage, and the music and vocals are put together
correctly. One might wish for a better-caliber orchestra, or real
dancers or an occasional star in the cast. But for straightforward
presentations of opera classics by a local troupe, it would be hard
to do better.
The
question on Saturday was how all this would transfer to a big stage.
The short answer is, very well. The lack of a pit muddied the sound a
bit, with a 40-piece orchestra on the floor in front of the stage
regularly drowning out the singers. Otherwise, the Sobieskis fit
neatly into a grand space befitting grand opera. And the nearly full
house they drew for Rigoletto should quell any doubts about
their ability to attract a downtown audience. Cleveland is lucky to
have them, and Playhouse Square would do well to keep them.
For
more on Opera Circle: http://www.operacircle.org/
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