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OPERA REVIEW
July 17, 2005
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By Olivia Stapp
Even a most unlikely space can become a theater. For Mozart's Le nozze di Figaro the Merola Opera found such a space, hidden deep inside the Presidio. It is the Herbst International Exhibition Hall. Once used for small conventions, it is large rectangular industrial-looking room, with very little subsidiary spaces for backstage makeup rooms and the like. Thus everything is out in the open. The audience sits on the three sides of the performance “table,” with the orchestra visible behind a transparent screen. The artists, sitting at their make up tables, greet the arriving audience. Everyone can watch the performers preparing for the opera. Electrical paraphernalia hang exposed from the ceiling. Baroque costumes — which are for sale by the parent San Francisco Opera Company — decorate the sides of the space. These elements all combine to generate a sense of adventure and excitement. The viewers become insiders, complicit. At such close range the audience tends to merge with the performers.
 Michèle Losier (Cherubino) Some issues remain to be worked out. The temperature is a serious problem — it was absolutely sweltering in there. Also, there is no contact between the conductor and the singers, apart from some closed circuit television sets that allowed the singers to see the conductor's beat. But, due to lack of eye contact, there were several disjointed moments in the ensembles, and no way for the conductor to adjust except to simply plow on and hope that things would eventually adjust themselves. Finally, the acoustics are not great: the orchestra sounds muffled, and the soloists tend to under-sing, due to the nearness of the listeners.
 David Crawford (Figaro) The Merola ensemble adjusted beautifully to these new circumstances, playing and singing with great earnestness. The voices in this year's group are well schooled and even: the lessons in this elite opera workshop are evidently being diligently pursued. There is, however, an atmosphere of over-determination. One could have wished for the performers to show more spontaneity; to sing out, rather than pussyfooting blandly around the recitatives; and to add real vocal color and inflexion to the words. There was a lot of the pallid singing, which passes for Mozart style these days. (Alas, it seems to be proliferating). Witticisms and puns go by limply, corseted by musical “correctness.”
Thankfully there were many sublime moments in the arias and ensembles. The soprano Melody Moore was sheer vocal perfection in the role of the Countess. Her flawless voice is both luminous and dark, an altogether gorgeous multidimensional tone; her lonely aria “Dove sono” was recording-ready. Michèle Bogdanowicz as Susanna sang a meltingly beautiful “Deh vieni non tardar,” and Adrianna Chuchman in the cameo role of Barbarina showed real star quality. Smooth singing equally from the two comic parts: Michèle Losier, an engaging Cherubino, and Veronica McHale as the preposterously funny Marcellina. Liang Zhang presented a virile, energetic Count Almaviva; the character roles of Don Basilio, (Matthew Garrett), Antonio (Liam Bonner), Bartolo (Joseph Rawley), and Don Curzio (Timothy Fallon) were all convincingly portrayed. David Crawford in the title role, Figaro, showed moments of great promise, especially when he turned his voice on in its entire resonant beauty.
 Michèle Losier (Cherubino) Michèle Bogdanowicz (Susanna) Liang Zhang (Count)
Peter Grunberg conducted sensible, singable tempi and gave the young performers the necessary orchestral support. Director Tom Diamond created a backdrop of attractive architectural projections and used a few props and pieces of furniture to suggest the different locals. He guided the singers through their roles skillfully and convincingly. One of the best Merola Groups ever. We wish them all good fortune. Bravi Tutti! (Olivia Stapp is an opera director, formerly artistic director of Festival Opera (1995-2001), and has had a major international career as a soprano.) ©2005 Olivia Stapp, all rights reserved |
Michèle Bogdanowicz (Susanna)
David Crawford (Figaro)
