The Opera Tattler

Casting for the Merola Grand Finale 2010

The casting for the Merola Grand Finale was announced yesterday. The performance, staged by Ted Huffman, is to take place August 21, and will be conducted by Dean Williamson.

The Rake's Progress
Anne Trulove: Janai Brugger-Orman
Tom Rakewell: Alexander Lewis
Father Trulove: Kevin Thompson

I Puritani
Riccardo: Ao Li

La Fille du Régiment
Marie: Abigail Santos Villalobos
Tonio: Eleazar Rodríguez

Samson
Samson: Kevin Ray

Mignon
Mignon: Robin Flynn

A Midsummer Night's Dream
Tytania: Hye Jung Lee
Bottom: Thomas Florio
Peaseblossom: Valentina Fleer
Cobweb: Nadine Sierra
Moth: Robin Flynn
Mustard Seed: Abigail Santos Villalobos

Thaïs
Thaïs: Rebecca Davis

Norma
Adalgisa: Renée Rapier

Lucia di Lammermoor
Lucia: Valentina Fleer
Enrico: Sidney Outlaw

Die schweigsame Frau
Sir Morosus: Kevin Thompson

Hamlet
Ophélie: Abigail Santos Villalobos
Hamlet: Dan Kempson

Ariadne auf Naxos
Zerbinetta: Hye Jung Lee
Composer: Colleen Brooks

Don Pasquale
Norina: Janai Brugger-Orman
Malatesta: Benjamin Covey

Tannhäuser
Wolfram: Ryan Kuster

Roméo et Juliette
Juliette: Nadine Sierra
Roméo: Daniel Montenegro

Le nozze di Figaro
La Contessa di Almaviva: Rebecca Davis
Susanna: Valentina Fleer
Cherubino: Robin Flynn
Barbarina: Hye Jung Lee
Marcellina: Renée Rapier
Basilio: Eleazar Rodríguez
Don Curzio: Kevin Ray
Il Conte di Almaviva: Sidney Outlaw
Figaro: Ryan Kuster
Bartolo: Thomas Florio
Antonio: Kevin Thompson
Servitori: tutti Merolini

Merola Opera Program's Elixir (Sunday)

* Notes *
The matinée performance of the Merola Opera Program's L'elisir d'Amore yesterday was completely sold out. We had yet again a slightly different cast than before, as Alexander Lewis (Nemorino) was well enough to sing, but Sidney Outlaw (Dulcamara) was not. Thomas Florio did an admirable job singing Dulcamara twice in less than 24 hours. No fatigue seemed to show in his voice.

As Gianetta, Abigail Santos Villalobos pierced through the chorus and orchestra in Act I. Ao Li was really quite funny as Belcore, and lovable, but still appropriately obnoxious. Valentina Fleer sang Adina fluidly, her phrasing was especially beautiful in "Chiedi all'aura lusinghiera." There was a brief moment in Act II where she could not be heard over the orchestra. Alexander Lewis sang Nemorino with warmth, even though his voice has a bit of a metallic quality to it. He did strain a little, but his "Una furtiva lagrima" was pretty. His background in musical theater is clear, and his dancing impeccable.

* Tattling *
The audience was enthusiastic. There were watch alarms at each hour and seagulls could be occasionally heard during the quiet parts of the music.

Merola Opera Program's Elixir (Saturday)

* Notes *
The third performance of the Merola Opera Program's L'elisir d'Amore on Saturday went splendidly. Though there were brief moments in which one could pick out the individual voices, the chorus sounded more cohesive than before. The orchestra played at a fine clip, though there remained issues of synchronization. There were some intonation problems with the horns and woodwinds, and some fuzziness and squeaking, respectively. The bassoon did sound lovely, however.

The singing was consistent. Hye Jung Lee's voice did not always carry over the chorus and orchestra, but she does have an exquisite sound. Thomas Florio was a hilarious Dulcamara, and Benjamin Covey blustered his way through the part of Belcore. Daniel Montenegro was less tentative in his second and a half appearance as Nemorino. His voice is sweet and reedy, and he never sounded strained or constricted. Nadine Sierra's Adina was bubbly and effusive, and she could always be heard over the orchestra. The overall effect was very charming.

* Tattling *
There was some whispering and use of mobile devices during the performance, but nothing not easily ignored. During intermission there may have been some rather unbecoming preening and picture taking in the lobby from a group of young people.

Merola Opera Program's Elixir (Friday)

* Notes *
The second performance of the Merola Opera Program's L'elisir d'Amore was last night, with different leads. The orchestra still was not precisely together, but again the space in Cowell is challenging. The chorus looked like they were having fun.

It certainly was fascinating to watch the same choreography on different bodies, the characterizations were rather different. Abigail Santos Villalobos was a saucy Giannetta, her volume was good, and her voice is very pretty. Sidney Outlaw's Dulcamara was amusing, his eyebrows are expressive and read well from a considerable distance. Ao Li was a scamp as Belcore, and his voice has a lovely richness to it.

Unfortunately, our Nemorino, Alexander Lewis, was ill. He coughed a few times in Act I, and clearly was trying his best to keep it together. His voice does have a lovely warmth, and his acting is strong. Lewis did not make it through Act II and Daniel Montenegro took over after a brief announcement from Mark Morash. Valentina Fleer sang Adina with a pure, clean tone. Her "Prendi, per me sei libero" was keen and effective.

Though the production is cute and fun, the concept behind it is baffling. If the characters are supposed to be rehearsing a play called "Elixir," why should Nemorino want a love potion from Dulcamara in real life? Nemorino might be simple, but this does not seem well-motivated or sensible.

* Tattling *
The audience was, for the most, part quiet and attentive. I was seated in the last row of the front section, and was pleased to not have to remove my hat. The person in H 2 brought his son who did not look older than 7 or 8. The child had his ear-buds in for most of the performance, and occasionally covered his ears so that he could better play the video game he had on a small portable device. More distracting was the rather loud hearing aid that emitted high-pitches all evening long.

Merola Opera Program's Elixir (Thursday)

* Notes *
The Merola Opera Program's L'elisir d'Amore opened last night at Cowell Theater in San Francisco. The orchestra started off crisply under Martin Katz. Though the pit must be less than ideal, they did sound jaunty throughout. The trumpet and bassoon had fine soli.

The cast was strong, a lot of lovely voices. The chorus may have not blended exactly together, but all of them can sing. Hye Jung Lee was adorable as Giannetta, pretty and bird-like, perhaps slightly quiet. Thomas Florio sang Dulcamara with a certain magnetic quality, and was very charming. Benjamin Covey was convincing as Belcore, conceited and silly as the role requires.

As for the two leads, both Nadine Sierra (Adina) and Daniel Montenegro (Nemorino) were wonderful. Sierra sang with ease, her icy voice worked well for Adina. She was able to sound beautifully tender at the end of Act I, when singing "Lo compatite, egli è un ragazzo: un malaccorto, un mezzo pazzo: si è fitto in capo ch'io debba amarlo, perch'ei delira d'amor per me." Montenegro moved with just enough awkwardness to suit Nemorino perfectly. His "Una furtiva lagrima" was gorgeous.

The production was not distracting, the set simple but descriptive. The costumes had the Forties look: lots of gloves, hats, and square shoulders. It was cute, and seemed less conceptual than last year's Così fan tutte, despite being set in a San Franciscan theater of 1942. Così may have suffered from too many ideas, and perhaps this Elisir had too few. The choreography involved a fair amount of dancing, but was not overwrought.

* Tattling *
Since I was seated in front of the director of the San Francisco Opera Center and behind a staff member of Merola, one can only assume someone has wised up to my tattling ways. Suffice it to say, everyone around me was well-behaved.