Le Comte Ory at Tacoma Opera
Le Comte Ory, Tacoma Opera, seen 11/7/2008 at the Rialto Theater, Tacoma WA
Count Ory: Javier Abreu (debut)
Countess Adele: Jennifer Bromagen (debut)
Isolier: Melissa Plagemann
Ragonde: Susan Salas
Raimbaud: Chad Sloan (debut)
Tutor: Craig Grayson
Alice: Signe Mortensen (debut)
Gaspard: Alan Newman
Francois: Nathan Allen Barnes
Conductor: Bernard Kwiram
Director: Barry Johnson
Scenic Designer: Judy Cullen
Costume Designer: Alex Lewingtom
Lighting Designer: Ben Zamora (debut)
The Rialto is an old-time movie house, originally opened under that name in 1918. Evidently the actual stage behind the proscenium is quite shallow, and the proscenium itself is quite narrow compared to the width of the house. The stage is thrust far forward beyond the proscenium, and there is no orchestra pit: the very small orchestra (fifteen instrumentalists), along with the conductor were actually onstage, stage right. Many of the stage exits and entrances were made from and into the auditorium itself, making this a rather environmental production.
After several years of Seattle Opera being the only live opera I've seen, this is the first provincial performance I've been to in awhile (and I don't mean the term pejoratively, it's just a description of the company itself. Companies like the Met and Lyric Opera of Chicago are international level, a company like Seattle Opera is national level, and Tacoma Opera is provincial.)
Not knowing what to expect, I was very pleased with the performance: Maestro Kwiram and the tiny orchestra did credit to Rossini's score, playing with the appropriate lightness of touch. The opera, which I had not seen before, is one of the silliest I've ever come across: any opera in which all the male characters dress as nuns for an entire act could only be described as silly. The director gave plenty of business for the characters to perform, and the audience was laughing throught he whole evening.
Of the singers, principal honors must go to Jennifer Bromagen as the countess who was absolutely wonderful. She had a luscious sweet tone and an effortless top. She reminded me of a young Renee Fleming. She strikes me as a real find.
Javier Abreu, a young tenor from Puerto Rico cut a very comic figure as the count. The high-lying role did not present any obvious difficulties for him. In the first act, there seemed to be a bit of a beat to his voice in mid-range which wasn't as apparent later on in the performance--perhaps he just needed a bit more warming up.
The young page Isolier was played by Melissa Plagemann, who was very funny in the boudoir scene in the final act. Her voice matched Miss Bromagen's well in their duets: one could imagine the two of them in any number of bel canto operas with prominent soprano and mezzo roles.
A real treat was the tutor, sung by Craig Grayson. It's a true, deep bass with a rich buzzy sound to it. I regret having missed Tacoma's Abduction from the Seraglio of some seasons back, as evidently he was the Osmin of those performances.
All the remaining solists did fine work in their smaller roles.
This Comte Ory, the first performance ever of the work in the Pacific Northwest, was a treat, and a wonderful way to spend an evening. I look forward to Tacoma Opera's performance of Faust in March at the Pantages theater.
Next up: Haydn's Il mondo della luna at the University of Washington
Count Ory: Javier Abreu (debut)
Countess Adele: Jennifer Bromagen (debut)
Isolier: Melissa Plagemann
Ragonde: Susan Salas
Raimbaud: Chad Sloan (debut)
Tutor: Craig Grayson
Alice: Signe Mortensen (debut)
Gaspard: Alan Newman
Francois: Nathan Allen Barnes
Conductor: Bernard Kwiram
Director: Barry Johnson
Scenic Designer: Judy Cullen
Costume Designer: Alex Lewingtom
Lighting Designer: Ben Zamora (debut)
The Rialto is an old-time movie house, originally opened under that name in 1918. Evidently the actual stage behind the proscenium is quite shallow, and the proscenium itself is quite narrow compared to the width of the house. The stage is thrust far forward beyond the proscenium, and there is no orchestra pit: the very small orchestra (fifteen instrumentalists), along with the conductor were actually onstage, stage right. Many of the stage exits and entrances were made from and into the auditorium itself, making this a rather environmental production.
After several years of Seattle Opera being the only live opera I've seen, this is the first provincial performance I've been to in awhile (and I don't mean the term pejoratively, it's just a description of the company itself. Companies like the Met and Lyric Opera of Chicago are international level, a company like Seattle Opera is national level, and Tacoma Opera is provincial.)
Not knowing what to expect, I was very pleased with the performance: Maestro Kwiram and the tiny orchestra did credit to Rossini's score, playing with the appropriate lightness of touch. The opera, which I had not seen before, is one of the silliest I've ever come across: any opera in which all the male characters dress as nuns for an entire act could only be described as silly. The director gave plenty of business for the characters to perform, and the audience was laughing throught he whole evening.
Of the singers, principal honors must go to Jennifer Bromagen as the countess who was absolutely wonderful. She had a luscious sweet tone and an effortless top. She reminded me of a young Renee Fleming. She strikes me as a real find.
Javier Abreu, a young tenor from Puerto Rico cut a very comic figure as the count. The high-lying role did not present any obvious difficulties for him. In the first act, there seemed to be a bit of a beat to his voice in mid-range which wasn't as apparent later on in the performance--perhaps he just needed a bit more warming up.
The young page Isolier was played by Melissa Plagemann, who was very funny in the boudoir scene in the final act. Her voice matched Miss Bromagen's well in their duets: one could imagine the two of them in any number of bel canto operas with prominent soprano and mezzo roles.
A real treat was the tutor, sung by Craig Grayson. It's a true, deep bass with a rich buzzy sound to it. I regret having missed Tacoma's Abduction from the Seraglio of some seasons back, as evidently he was the Osmin of those performances.
All the remaining solists did fine work in their smaller roles.
This Comte Ory, the first performance ever of the work in the Pacific Northwest, was a treat, and a wonderful way to spend an evening. I look forward to Tacoma Opera's performance of Faust in March at the Pantages theater.
Next up: Haydn's Il mondo della luna at the University of Washington