* Notes *
West Edge Opera has found a new home at Pacific Pipe, an abandoned warehouse in Oakland this year, after the City of Oakland denied permits public events at the 16th Street Station, where the company performed the previous two seasons. Since I had a baby a scant 12 weeks ago, I decided to attend only one of the three productions, choosing Vicente Martín y Soler's L'arbore di Diana. It turned out very well for me, the music is delightful, the production amusing, the conducting crisp, and the singers fantastic.
Martín, a contemporary of Mozart, is best known today for the quote of "O quanto in sì bel giubilo" from Una cosa rara at the second act of Don Giovanni. Interestingly, both these works and L'arbore di Diana are by the same librettist, Lorenzo da Ponte. The music of L'arbore di Diana is jaunty and attractive, and the small orchestra played nicely under the direction of Maestro Robert Mollicone, who is on the music staff of San Francisco Opera and was an Adler Fellow. The fortepiano, played by Mollicone, was amplified, and this was disorienting (especially at first) because the sound came from a different direction than the instrument. There were times when the singers and orchestra were slightly off from each other, but for the most part, the playing was pretty clean.
Director Mark Streshinsky is at his best with this sort of divinely silly opera. The tree of the title is made of ladders and pink tulle, complete with fruit to pelt unchaste nymphs. The fruit are the dancers of the Sarah Berges Dance Company, and their costumes, emerald lame leotards each emblazoned with a single golden breast, pink areola, and multicolored flashing light as a nipple, are hilarious. The dancers mutely comment on the action, their expressions and gestures are priceless.
The singing was likewise excellent. The trio of nymphs (pictured above with dancers) included soprano Maya Kherani (Britomarte), mezzo-soprano Molly Mahoney (Clizia), and mezzo-soprano Kathleen Moss (Chloe), who all have beautiful voices and sang wonderfully together. Tenor Kyle Stegall's voice rang out clearly, even though the venue doesn't have ideal acoustics at all, hardly having walls. His Endimione, love interest of Diana, is convincing, as Stegall is tall and handsome.
The dueling sopranos Christine Brandes (Cupid) and Nikki Einfeld (Diana) were no less appealing. While I'm not a fan of Brandes' incisive sound, it works in this space, and was a good foil for Einfeld, whose flexible voice is nothing short of gorgeous. Einfeld can also pull off wearing a floor length blue sequined gown with fluffy blonde wig and still look slim and perfectly self-possessed. I was impressed by her coloratura and happy to hear her in something so different from Opera Parallèle's Flight earlier in the year.
* Tattling *
I bought an expensive ticket for this opera so that I could have an assigned seat rather than being in the general admission section. It was worth the price for me, as I was not next to anyone in Row B Seat 24 and did not have to get to the venue early to stake out a good seat.