The Opera Tattler

Don Giovanni at Livermore Valley Opera

* Notes *
Livermore Valley Opera's Don Giovanni (Ovation pictured, photograph by author) opened last night at the Bankhead Theater. The opera is cast well and the production is very committed.

Robert Herriot's staging used video projections that featured monstrous roses in every scene. They seemed to have blood vessels and looked almost three-dimensional.  The action all was well-motivated, the threats of violence seem very real. The Act I finale had pistols in it so that it made sense that Don Giovanni was able to be cornered and then his escape once he had gotten in control of weapons also was believable. The video projections and stripped down set made for easy scene changes.

Mozart leaves the orchestra exposed and every false start or intonation error was on full display under Maestro Alexander Katsman, especially since there are so few people in the pit. It was all very lively and certainly there was never a dull moment.

The three sopranos in the cast were all quite powerful singers. Meryl Dominguez has such a strong voice as Donna Anna. Cara Gabrielson has a sharper edge to her sound but this works well for Donna Elvira, who does seem somewhat hysterical. I was most partial to Phoebe Chee's Zerlina, she's sweet but also sassy, and has a nice rounded warmth.

Our leading man, baritone Titus Muzi III, embodies Don Giovanni beautifully, even though he hurt his right knee in rehearsal and had to use a cane for the prima. He moves well and looks quite dashing. His voice is not entirely resonant through his whole range. His Champagne aria felt rushed and not perfectly sparkling but his serenade in Act II was lovely.

Tenor David Walton was convincing as Don Ottavio, as was bass-baritone Samuel J. Weiser as Leporello. Walton sounded very pretty, while Weiser has a distinct vibrato. Bass-baritone Joseph Calzada made the most of his small role, his Masetto was charming. Best of all was bass Kirk Eichelberger, his Commendatore was commanding. His low notes are rich and full, and his last scene at dinner when he asks Don Giovanni to repent is terrifying.

*Tattling *
There was a lot of talking during Act I and much crackling of plastic in Act II. At least no electronic noises were noted, and not too much coughing.

I was introduced to mezzo-soprano Frederica von Stade, who is the most famous resident of the city I live in. She liked my outfit and also shared a chocolate chip cookie with me. She was there for the Young Musicians Choral Orchestra, who performed in the lobby before the opera.

La Fille du Régiment at Livermore Valley Opera

* Notes *
Livermore Valley Opera's La fille du régiment (Act I pictured with Véronique Filloux and Eugene Brancoveanu) ends today. The opera is extremely cute and this production has some fine singing.

Directed by Marc Jacobs, the staging is simple, with a video projected background and a few props. I enjoyed the rocks that became a bar, and also used as a set for some puppets reenacting Tonio saving Marie in Act I. In Act II there was the addition of pillars, chairs, a desk, and a piano, which garnered applause.

Maestro Alexander Katsman presided over the small orchestra. There isn't anywhere to hide, since there are so few players, and every mistake was obvious. The singers were most prominent, there are so many good singers in our region, and it was fun hearing them sing in this Donizetti opera that isn't performed as frequently as some others. The chorus is likewise tiny, but the singers kept themselves very much in unison.

Mezzo-soprano Lisa Chavez has a rich, deep voice that seems to rise from her feet. She's convincing as the Marquise de Birkenfeld. Baritone Eugene Brancoveanu is sympathetic as Sulpice, his sound is as robust as ever, very plush toned and pleasant. He's quite avuncular, which works well for this role.

Tenor Chris Mosz always seemed at ease as Tonio, those high notes were well within his reach. His vibrato is a touch wide and his timbre is slightly thin, but he did great with his difficult aria "Ah! mes amis, quel jour de fête!" Soprano Véronique Filloux was completely charming in the title role. Her Marie has a lot of sass and a beautiful resonant sound. Her French diction was extremely clear as well.

*Tattling *
The audience was quiet and no electronic noise was noted.

A Taste of Africa was happening in the plaza of the Bankhead Theater, so we could sometimes hear the performances a little when the music of the opera was quiet, but it was not that distracting.

The Magic Flute at Livermore Valley Opera

* Notes *
Livermore Valley Opera's The Magic Flute (Act I pictured with Liisa Davila, Megan Potter, Leandra Ramm, Victor Cardamone, and Alex DeSocio) opened last night with a delightful and well-characterized cast of singers. 

The English-language production, directed by Yefim Maizel, is straightforward and the set is simple, a platform with three stairs and a background with video projections. There were also a pair of doors that came in to change the space. The backdrops that represented the outdoors looked more fairytale-inspired, while the interiors had more of a video game from the early nineties feel. The costumes were often draped and Grecian though Tamino and the Queen of the Night looked more like they were from Mozart's time.

Alexander Katsman held the small orchestra together, though there certainly were times when the flute and horns were exposed and not in tune. The main attraction of the evening was certainly the singing. Bankhead Theater is an intimate space and everyone was very audible, especially given how small the orchestra was.

Bass Kirk Eichelberger was convincing as Sarastro, the acoustics were very good for his low notes and it was impressive hearing the depths of his voice. Baritone Alex DeSocio is an adorable Papageno, his sound is very resonant and pleasing. He was funny and sprightly.

Soprano Shawnette Sulker's chirping, bright sound was almost too pretty for the Queen of the Night (pictured in Act II with Phoebe Chee) she just bordered on shrill on the run up to the hardest passages of both her big arias, but seemed to effortlessly and beautifully hit the high notes. Soprano Phoebe Chee is a robust and dramatic Pamina, well-supported and clear. I'd really like to hear her as Donna Elvira in Don Giovanni, which Liveremore Valley Opera is doing next season. Tenor Victor Cardamone makes for a very fine Prince Tamino, such a lovely, powerful sound, with such ease.

*Tattling *
The audience was focused and pretty quiet. I did hear some electronic noise when Papageno's pan pipes responded to Tamino's flute call.

I was a bit flustered upon my arrival to the theater as I had been running late all day, and didn't manage to put my leftover tiramisu in my purse before entering. One of the theater staff rightly took it from me, but I wasn't able to discern where I was to pick it up after the performance, and abandoned the cake as it was rather late and raining a lot.

The Adler Fellows in The Stronger & The Impresario

* Notes * 
Half a dozen Adler Fellows put on Hugo Weisgall's The Stronger and Mozart's The Impresario at Livermore Valley Opera last Sunday. Pianist Tamara Sanikidze played the astringent music with aplomb, and Leah Crocetto managed to command attention despite how unsympathetic the character of Estelle could be. Maya Lahyani acted the mute role of Lisa convincingly, and without being reduced to a mime.

Allen Periello and Tamara Sanikidze were entirely adorable in their highly choreographed performance of the overture to The Impresario (Der Schauspieldirektor) on piano. This involved both high-fives and switching who played the high notes, all to hilarious effect. Periello played most of the rest of the opera by himself, quite prettily, and Sanikidze joined him again for the finale. The three singers, Austin Kness, Susannah Biller, and Sarah Gartland, took on German, French, and English accents, respectively. It was exceedingly silly and came off well. The singing was fine, though the ladies did get a bit shrill at times, though that fit the dynamic of their rivalry perfectly.

* Tattling * 
The audience was uncommonly attentive, no electronic noise was noted, and no one talked or whispered during the music. There was much laughing during the second opera.

I later heard that they were supposed to have three operas and not just two, the third featuring Ryan Belongie and Maya Lahyani. Curiously enough, Belongie was listed on Livermore Valley Opera's official site as one of the singers in the performance, though he did not appear on stage.