Photograph by Yassine El Mansouri / Elman Studio
After exploring among the lesser-performed works of Giuseppe Verdi and Giacomo Puccini in latest seasons, WCO revisited Pêcheurs, the primary opera the corporate carried out upon its founding in 1987, for a virtually sold-out efficiency on the eve of its 40th anniversary season. Bizet’s early opera most lately took the WCO stage in 2000 and has been absent from the nation’s capital since 2008, when it was introduced by Washington Nationwide Opera. Bizet’s opera of a friendship between two males torn asunder by their love for a similar lady has lengthy languished within the shadow of Carmen but has its personal musical charms. WCO’s live performance format introduced Bizet’s harmonious rating and enchanting vocal writing to the fore. Whereas the libretto could also be hokey, the great thing about the music and the financial system of the work (the three acts zip by with nary a superfluous notice) are strengths in my e book.
Tenor Anthony Léon, a latecomer to the forged, changing an indisposed Duke Kim, was a powerful Nadir. Candy-toned with a chic end, Léon’s tenor boasted a clean passaggio and swish phrasing. His heartfelt “Je crois entendre encore,” with its excessive notes delicate and clear, was a spotlight of the night and rightfully acquired thunderous applause. Léon’s vocal line struggled to compete with the orchestra in some moments, however he’s nonetheless at the start of his profession, and I’m excited to observe his profession proceed to develop.
Photograph by Yassine El Mansouri / Elman Studio
Returning to the nation’s capital after enjoying one other character unsuccessful in romantic conquest, the Depend in WNO’s fall manufacturing of The Marriage of Figaro, baritone Will Liverman sang a daring Zurga. His wealthy and lucid baritone sounded significantly wonderful in Act III, an emotional curler coaster for the character. He was riveting in his flip from lachrymose contrition over his condemnation of Nadir and Leïla to fiercely jealous rage, by which he darkened his tone and adopted a dramatically taut elocution. Liverman and Léon made a powerful pair within the opera’s iconic tenor-baritone duet, “Au fond du temple saint,” their voices melding collectively nicely for a touching efficiency.
Soprano Emily Pogorelc sang fantastically as Leïla, the priestess on the heart of Nadir and Zurga’s love triangle delivered to the village for nightly prayer vigils to safeguard the pearl fishers. Mild and limpid, Pogorelc’s lyric soprano excelled when left uncovered by Bizet’s orchestration and when accompanied by the ability of the total orchestra, although a few of her coloratura was uneven. She successfully conveyed Leïla’s complicated vary of feelings, from her concern and apprehension of the weighty expectations thrust on her shoulders by the group, to her defiance of Zurga within the mildew of a proto-Carmen.
Bass-baritone Christian Simmons made for a dignified, imposing presence because the priest Nourabad, his traces crisply delivered and his righteous anger compelling. The position doesn’t get a lot airtime vocally, so the manufacturing additionally gave Simmons some supernumerary features, a great way to offer the viewers extra time to take pleasure in his performing chops.
Performed by WCO creative director Antony Walker, the orchestra sounded a bit extra ragged in the direction of the start however hit its stride because the opera continued. Walker’s brisk conducting accentuated the joy and drama of Pêcheurs and his dealing with of the tempo throughout “Au fond du temple saint” heightened the depth of the well-known duet. Harpist Susan Robinson’s ethereal enjoying glimmered throughout this scene. The refrain performs a vital position in Pêcheurs by offering the vocal backdrop for the principal characters’ love triangle. Below the course of David Hanlon, assistant conductor and refrain grasp, the WCO Refrain successfully set the scene and accompanied the central drama and sounded particularly good in Act II’s condemnation of Nadir and Leïla.
Earlier than the efficiency, WCO introduced its 2026-27 season, which is able to embrace Joseph Haydn’s Armida (October 24), Jules Massenet’s Don Quichotte (March 14), and Vincenzo Bellini’s Il Pirata (Might 2).
Andrew Lokay
Andrew Lokay started his profession as an opera fan on the San Francisco Opera, the place the primary efficiency he noticed was Madama Butterfly. He graduated Phi Beta Kappa from Stanford College with a Bachelor of Arts in worldwide relations and French with honors in worldwide safety research. He now lives in Washington, DC and is a frequent viewers member for opera and theatre within the nation’s capital.
