Merola's Triple Bill
West Edge's Opera L'arbore di Diana

Merola's La Cenerentola

Merola_cenerentola_2017_loken_2400x1800* Notes * 
The second set of opera performances from the Merola Opera Program this year was Rossini's La Cenerentola at the San Francisco Conservatory of Music on August 3 and 5. The sugary sweet staging from Chuck Hudson showcased a plethora of fine young singers (pictured left, photograph by Kristen Loken) supported by conductor Mark Morash and a mostly competent orchestra.

The production featured three wardrobes moved around the stage by the male chorus, meant to look like the doors of various edifices. The costumes were slightly baffling, the male chorus members wore moto jeans splattered with paint and none of the women's clothing seemed to have sleeves. The choreography involved a lot of voguing.

But as usual for Merola, the voices were preeminent, and even the smallest roles are filled by very strong talents. Soprano Natalie Image, Clorinda, one of the step-sisters, has an especially gorgeous voice, and one would love to hear her sing more. The trio of bass-baritones were all strong. Szymon Wach sounded lovely as Alidoro, Christian Pursell made for a dashing, pretty voiced Dandini, and Andrew Hiers was a perfectly silly Don Magnifico.

Anthony Ciaramitaro has a sweet-toned tenor suited for Prince Ramiro, contrasting well with mezzo-soprano Samantha Hankey's dusky sound. Hankey has a fabulous physicality that Ciaramitaro obviously lacks, she moves in an elastic and adorable way that made the cloying title role much more sympathetic.

* Tattling *
I was so sad to learn that long-time opera supporter John Lindstrom died a few weeks before the performances, which were dedicated to his memory.

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