* Notes *
Merola Opera Program's very first commission, If I Were You, premiered last night at Herbst Theatre. Jake Heggie and Gene Scheer's opera certainly shows off the young singers voices but most impressive was Maestra Nicole Paiement at the helm of the orchestra.
The focus of Merola's performances is, of course, very much on the singers in the training program, and the orchestra often sounds less than perfect. Paiement had the musicians in the pit sounding formidable and together, and the shape of Heggie's sweeping lines were apparent.
The music is lyrical and showcased a great many beautiful voices, and the Faustian story fits the youth of the Merola participants (Cara Collins and Michael Day pictured, photograph by Kristen Loken). The main character, Fabian, is a young writer who makes a deal with the demon Brittomara to be able to move from one body to another, taking over other people's memories and selves. It is quite convoluted, and the singers did a fine job embodying the characters. I did not much like the sound of Fabian taking over a new body, it is supposed to be the sound of an electric shock but I couldn't help thinking it was like a big bug zapper killing insects.
From the very beginning mezzo-soprano Cara Collins is a charismatic Brittomara, her deep low notes and sparkling ones are ideal for a shape shifting spirit. Tenor Michael Day is a poignant Fabian, his voice has a lot of different hues and much strength as well.
We see Fabian inhabit six different bodies, from his boss Putnam, played by bass-baritone Rafael Porto to his love interest's best friend Selena, performed by soprano Patricia Westley. There were no weak links, these are all singing actors. It was particularly amusing to see baritone Timothy Murray as the brash, confident Paul. The contrast of "real" Paul with Fabian/Paul is very charming and funny.
Soprano Esther Tonea stood out as Diana. As Fabian's love interest, she starts off pretty mild, her voice has a lovely, pure sound. By Act II she has been through quite a lot, trying to piece together what is going on around her, and her performance is much more dramatic and powerful.
The production, directed by Keturah Stickann, effectively uses vertical space by having stage elements come up and down from the ceiling. The many scenes are seamless because of this and the projected video art that could put us in an auto body repair shop (pictured, photograph by Frank Wing) or book-filled apartment within seconds.
The opera has a second cast that performs tomorrow and August 6, and it is sure to be interesting to hear other singers in the principal roles. The opening cast returns on August 4.
* Tattling *
One of the people in Row F was convinced I was in his seat but his companion assured him that they needed to keep going.
There was light talking in the middle of Row G, at least one watch alarm marking 8pm, and the person next to me in Seat 108 checked the time on his phone right before the opera ended.