San Francisco Classical Voice

All these singers have appeared in opera around the country and venues around the Bay Area, including the various programs of the SFO: The Merola Program, Western Opera Theater as well as supporting roles in the company's major productions. An interesting aspect of this batch is that three of the eight — Archibald, Einfeld and Glenn — are Canadians, while Bloom is Australian. On the other hand, it's one of the few recent Adler years with no Asian vocalists in the mix.

Soprano Slack, from Philadelphia, possesses the ideal lyrical musicality for a Strauss role. The voice is crystal clear, yet with that smooth nuance of the sort heard from a Schwarzkopf or Te Kanawa. Her performance has major career stamped all over it. Much the same was true of Einfeld's racing around Strauss' cruel Zerbinetta aria, which she tossed off, seemingly without effort.

Tenor Glenn, as the ghost of Peter Quint trying to steal the soul of the boy Miles, created an almost frightening effect. He managed every little menace with a bell-clear diction. Every last syllable shone out. Britten's skillful writing no doubt helped. Also memorable was the opposite, Bloom's dark and burly presentation of King Philippe's anguish. Both gentlemen proved terrific sonic actors, coloring the emotions without resorting to stage business distractions.

Baritone Meachem, given the nature of his Italian excerpt, did visually act out his Bellini Aria, adding minute dynamic shifts. The little spark of military music near the close was particularly effective. Bass-baritone Herrera's incredible stage dignity of voice and manner for the Cavatina from Aleko was moving and revelatory. It's not an aria nor indeed an opera that one would encounter, but Herrera made such an impressive case for it that I find myself wondering . . .

For sheer glitter and panache, it would be hard to top Mezzo-soprano Rohrer's Berlioz. The composer's only comedy, Béatrice et Bénédict was his sole major operatic success during his lifetime, though today the least staged of his three completed operas. Rohrer's focus and convivial charms seemed ideal for the role. This was a high point.

Constanza's big show-stopper Aria is Mozart at his best, involving an I-dare-you breadth of rages. Soprano Archibald managed it admirably. While generally musical, she occasionally forced some of the high-register segment, sacrificing timbre for volume. That's not necessary. The music is flashy enough as is.

The full house cheered everything to the echo, for good cause. With the orchestra playing up to its normally high standards, under Morash's able baton — such fun repertory, so many selections and so much musical craftsmanship on display — one only wished they could repeat the whole thing for more folks to experience.