This Wednesday, Opera Baltimore offered a semi-staged live performance model of Lucrezia Borgia, a lesser carried out work containing a few of Gaetano Donizetti’s most interesting tunes. Lucrezia Borgia is the corporate’s second of three reveals this season, together with Puccini’s Tosca final October and culminating subsequent month in Debussy’s Pelleas et Melisandre. The theme of this season – “Energy, Ardour, and the Value of Reality” – is provocative. I used to be eager to know the way the inventive path would combine this work into the theme. Regardless of wonderful singing from a number of the night’s principals, the drama faltered because the convoluted plot unfolded, leaving me and my companion befuddled because the opera led to a sudden flourish.
The twists and turns of this opera will be troublesome to observe. The motion begins with the younger soldier Maffio Orsini, performed by a plucky Megan Marino, decrying the crimes of Lucrezia Borgia and her brother. Marino’s husky mezzo feels good for the function of the brash soldier. Throughout Maffio’s consuming music, she strides up and down the middle aisle with applicable mischief within the small gilded area of the Engineer’s Membership. The remainder of the plot (poison, mistaken identities, suicidal sacrifice, and an implied mother-son romance) exceeds my capability to summarize (in any case, how many individuals present as much as bel canto for the plot?).
Caitlin Crabill within the title function had a full, spherical voice, with a rippling center and even vibrato. She tiptoed up and down Donizetti’s runs with nice vocal management; her whirring, fluttering trills had been executed with beautiful precision. Crabill faltered simply as soon as, falling wanting the excessive notice to shut “Di pescatore ignobile,” the Act I duet between her character and Gennaro. Later, Crabill’s lengthy, anguished notice simply earlier than Borgia reveals her identification raised the hairs on the again of my neck.
Together with Crabill’s stable interpretation was Hayden Smith as Gennaro, whose radiant tenor ranged from loud to louder with out shedding purity of tone. His appearing was very good as properly, bringing electrical energy to the area as he drew his dagger on Borgia. Sam Weisner as Alfonso wavered on some low notes however triumphed with an enormous, booming center. He clearly relished the villainous function of Don Alfonso, demonstrated by his rendition of “Vieni la mia vendetta.” Pianist and conductor Husan Chun-Novak’s management on the keys drove the motion all evening. The maestra knew how to attract down the motion, making a uncommon area inside which the drama might breathe.
Julia Cooke, President and Director of Opera Baltimore, famous in her program letter that the corporate “put aside extra decoration in favor of intimacy…” This is able to be properly and good… if there was any decoration in any respect. Cooke claims that “a narrative unfolds that’s without delay centuries previous and strikingly current.” However with a conventional staging and idea, I wrestle to agree. There are the compulsory costume masks and plastic silver and gold pitchers of wine, however there was little else to differentiate between characters. Additional, I wanted that Mary Elizabeth Williams’s path used the charming area to boost the contours of the drama. We’re purported to be in a Venetian palace, in spite of everything. Maybe the most effective measure of dramatic legibility got here from my companion, who was taking in an opera for the primary time. In his estimation, the ascending drama within the first half was clear sufficient, however the second half was completely incomprehensible.
The seams might present on this efficiency, however this can be endearing. The projection of the supertitles, for instance, shook up and down all through the present, which by some means labored. It was as if we had been in somebody’s dream of a silent film with great younger voices bounding across the crimson and gold inside of the venue.
I’ve to applaud Opera Baltimore’s guts for staging such a troublesome piece. The music is the factor right here. This music overcomes even essentially the most confused dramaturgy and weak worldbuilding. I used to be reminded of an apocryphal story my dad used to inform about Puccini. Stopping at a small city throughout considered one of his travels, the composer took in a efficiency of La bohème at an area theater. Through the present, the corporate’s govt director was shocked to see the maestro visibly upset. He promptly visited the composer’s field and apologized. “Maestro,” he stated, “forgive us, we’re however a small home.” Puccini shook his head, responding via tears. ”My good man,” he stated, “it’s the music, you see – it’s simply so lovely.”
Baltimore has an extended operatic historical past. In response to Wayne Koestenbaum’s The Queen’s Throat, it was in Baltimore that Jenny Lind as soon as “dropped her scarf from a balcony, and followers ripped it up and pocketed fragments.” The good Rosa Ponselle made this metropolis her remaining house. On the high of the present, Cooke responded to actor Timothee Chalamet’s latest disparaging remarks concerning the artwork kind. The corporate’s director was defiant, declaring that “opera is alive in Baltimore.” Because of the high quality efforts of the evening’s musicians, that assertion rings true.
Lucrezia Borgia is taking part in March 4, 6, & 8 on the Engineers Membership in Baltimore, MD.
Brendan Latimer
Brendan Latimer is a author and concrete planner primarily based in Baltimore, MD. He first fell in love with opera as a child watching Met productions on laserdisc along with his dad, who was a lover and collector of all issues opera. In highschool, Brendan performed the clarinet line of Otello, which continues to be his favourite work. Professionally, Brendan is all for narrative historical past and the intersection of society and the constructed atmosphere. Along with opera, he enjoys watching baseball and taking part in along with his tuxedo cat, Cholla (pronounced cho-yah). You’ll find Brendan on Instagram at b_lat_
