Guest blog review of Baltimore Opera Theatre's 'Rigoletto'
A scheduling conflict prevented me from catching the second production in Baltimore Opera Theatre's inaugural season at the Hippodrome, so I asked local opera buff Andrew Pappas — I knew he'd bet there — to submit a report, which is below.Tim Smith, The Baltimore Sun
Thursday, March 11, 2010, at the Hippodrome Theater in Baltimore, an ample crowd of opera fans and would-be aficionados attended a production of Giuseppe Verdi's Rigoletto presented by Giorgio Lalov and Baltimore Opera Theatre. From the first notes of the overture to the final curtain there were abundant orchestral and vocal performance highlights to assure a successful evening. Led by conductor Krassimir Topolov, the orchestra capably supported the vocal and dramatic achievements of the talented soloists and able chorus. For regional opera, the sets, costumes, and lighting were grand. The staging was remarkable. The appreciative audience rewarded the performers with boisterous applause throughout the evening. Any doubts that one might have held about the company prior to the performance were emphatically banished. This was a first-rate production.
The role of Rigoletto was performed by young Verdi baritone Nelson Martinez, who began his career in Cuba and who, at this juncture, has sung several roles in a number of venues across this country and abroad. His voice is larger than life, deeply expressive throughout the entire vocal range of the role. From poignantly and plaintively delivered pianissimos to super-grand explosions of sound with power to spare, his dramatic emotional impact was always impressive. With his immense vocal and acting talents, he convincingly portrayed the old and deformed court jester, capable of hurling derisive insults himself, but profoundly vulnerable to the terrifying curse that humbles him and portends the tragic outcome that unfolds.
The Duke of Mantua was portrayed with vocal ease and a great deal of polish and swagger by Ukrainian tenor Igor Borko. With numerous credits in this country and abroad, Borko brought a wealth of experience and exceptional timbre and stamina to his impressive performance. Most notable were the Act I aria about a life of pleasure with as many women as possible (Questa o quella - "This woman or that") and the more famous Act III aria about the wonderful inconstancy of women (La donna e mobile - "Woman is fickle").
Gilda as sung by Puerto Rican soprano Magda Nieves was performed exactly as you would want. She was the epitome of youth and innocence. She was tender, pure, and articulate in vocal delivery and dramatic portrayal. I found her exceptionally demure and pleasing in her Act I aria in which she adoringly repeats the name of her newly found love, Gaultier Malde (Caro nome - "Dearest name").
Of the many others in the cast, William Powers, an American, as the assassin Sparafucile and Viara Zhelezova, from Bulgaria, who sang both Maddalena and Countess Ceprano, were standouts.
Conductor Krassimir Topolov and the excellent orchestra and chorus were from Bulgaria, with a few local additional instrumentalists in the orchestra. The supernumerary roles were admirably served by students of the Hereford Theatre based at Hereford High School in Parkton, Maryland.
Lest you think I forgot, I must mention how well performed was the famous and abundantly loved quartet in the final act. The four singers gave a spacious and well tendered account, each voice given its perfect due. This was opera at its best!
-- Andrew Pappas
Baltimore Opera Theatre’s “Barber,” a blast, full of energy and good humor.
When Baltimore Opera Company announced somewhat unceremoniously that it was closing its doors a couple seasons ago opera goers in the greater Baltimore area were understandably shocked and more than a little disappointed with the news and abruptness of ticket nullifications. The closing came as a surprise to everyone.
Baltimore Opera produced good operas; its shows were enjoyable and its talent pool was wide and deep. When it closed everyone asked: what comes next? What entity will take its place? Indeed, will any company step in to fill the void?
This year a new (in name only) entity, comprised of performers and creative talent from the venerable Teatro Lirico D’Europa, a touring company that has thousands of performances under its belt and is no newcomer to those of us who have followed its performances over the years, has stepped in to fill the void, and in its first season at Baltimore’s restored Hippodrome Theater offered one of Rossini’s most popular operas, “The Barber of Seville.”
I viewed this performance at the Hippodrome on Sunday afternoon, November 22, and while not a big fan of the music style and era in which Rossini composed I found myself, nonetheless, drawn into the music and story of Count Almaviva’s pursuit of the lovely Rosina, with the help of the jack-of-all trades barber of Seville, Figaro. And since every show needs a villain (sort of), this one has one too. Determined at every turn to see that this union never occurs is Rosina’s older guardian and curmudgeonly other suitor, Dr. Bartolo.
It was a delightful performance, staged nicely and lit beautifully by Giorgio Lalov. It was a show peopled with an ensemble cast of seemingly indefatigable performers and a 39-piece orchestra that brought the house to laughter and earned solid applause at final curtain.
Simply put, the show was a blast, full of energy, good humor, outstanding individual and ensemble performances and solid production value. I have learned over the years that quality shows is what to expect from this company, and this time, as others, it did not disappoint. Indeed, the production value seems to have steadily improved. It’s a high water mark, actually, and a good place for this company to remain, since Baltimore audiences will undoubtedly appreciate the effort.
As for specifics, Bulgarian-born mezzo soprano Viara Zhelezova, singing the role of Rosina, was simply magnificent. Her acting was natural and fluid and her vocal delivery was flawless. She navigated through the sixteenths with seeming ease, displaying remarkable agility and sweetness, never missing the tempo. I was in awe of her stamina and infectious talent throughout. Brava!
Many deserved kudos go out to this cast, most notably the veterans Hristo Sarafov, singing the role of Dr. Bartolo and basso Konstantine Videv, singing the role of Don Basilio. Wow! When these two were on stage together, the dynamic was electrifying. As I have noted in the past when reviewing this opera with other companies, if these roles are done right they can make this opera soar and Sunday afternoon both singers were on their game, in every way, and the opera soared. Mr. Sarafov especially, won over the audience with a performance that was amusing and vibrant with energy and good humor. He captured the nuance of Dr. Bartolo wonderfully and never missed the opportunity to exaggerate Bartolo’s obsession, without ever sinking into silliness. Bravo!
Singing the role of Count Almaviva “aka” Lindoro (a disguised student) and “aka” Don Alonso, a supposed assistant of Don Basilio, was American-born lyric tenor Benjamin Brecher. The male vocal cord isn’t as flexible as the female and singing parts written by Rossini, Handel, Mozart, to name a few is, for most male singers, a noticeably uncomfortable undertaking for the singer and the audience. Mr. Brecher handled himself nicely, though. In spite of this compositional liability, which is not the singer’s fault, I found Brecher’s take on all his characters a solid plus to this production. I have seen him perform this role before and he fits the character well and obviously enjoys himself (and his characters’ antics) on stage.
Lyric baritone Petar Danailov singing the role of Figaro projected a strong and pleasant baritone (we should see more of him) and handled himself with ease on stage. He was a huge “plus” for this production as was mezzo-soprano Jo-Anne Herrero, singing the role of Berta, the maid, who actually gave the comprimario role real star quality and punch. Very nicely done. Also, “a tip-of-the-hat” to baritone Vladimir Hristov, singing the role of Fiorello, demonstrating the depth of this company’s lead and second singer ranks.
Markhan Thakar, conducting, did a superb job, one that it was clear even he was pleased with. The orchestra complimented the performers and storyline and rendered a finely honed interpretation of what Rossini clearly intended.
All in all I would have to say Baltimore’s brief opera draught has ended. Opera has returned to the city with a new company on the block, which is not so new, actually, and getting better all the time, Baltimore Opera Theatre. This “Barber” was a delightful and well-done comic success. Congratulations!
OperaOnline.us – Paul Joseph Walkowski – 11.22.09
New opera company shows promise in its first production
Petar Danailov was a buoyant, assured Figaro with a generally solid baritone and considerable stylistic flair. Benjamin Brecher, as Almaviva, had some trouble with top notes, but otherwise offered sure technique and elegant phrasing in his arias. The tenor also proved to be a witty actor in his two big comic scenes.
Viara Zheleova brought an ample, vibrant mezzo and abundant personality to the role of Rosina. A little more tonal coloring would have been welcome here and there, but this was very potent vocalism.
As Dr. Bartolo, Hristo Sarafov gave a good old-fashioned, burly, buffo performance, hamming it up mightily and enjoyably. Konstantine Videv’s singing as Don Basilio was a little dry, but reflected solid experience in the Rossini idiom. Jo-Anne Herrero’s Berta was so vibrantly sung that it was a pity her aria was cut.
BALTIMORE SUN – Tim Smith – 11.23.09
Dear Ms. Kelly,
My entire family ( 2 parents and 3 kids ages 9 -17) attended IL BARBIERE DI SIVIGLIA at the Hippodrome Theatre on November 22. We made the drive all the way from Silver Spring, MD because the opera was presented on a Sunday afternoon and the price was family friendly. We enjoyed the performances very much! We thought the singers were excellent and the staging was very funny! We laughed a lot! We also enjoyed the lecture given by Mr. Powers before the opera.
Thank you for providing a delightful afternoon of opera at affordable prices with a theme children could also enjoy!
Dan Bosworth – Silver Spring, MD
Dear Mr. Lalov,
IL BARBIERE was a treat! We were frankly very surprised that anyone in Baltimore would be able to put together a full-scale opera production in these hard economic times with such charming sets and costumes, a full orchestra and such outstanding soloists. We were particularly taken with the voices of the FIGARO and ROSINA and the direction of Maestro Thakar. From where we were seated there were absolutely no problems hearing any of your singers or the orchestra. We felt the acoustic was in fact excellent. The Hippodrome is an elegant and clean venue! We are looking forward to RIGOLETTO in March. Keep up the good work!
Dr. Alexander Blaustein – Baltimore, Maryland
The physical productions and Lalov’s stagings were reassuringly traditional and tell the story clearly. The solo and ensemble singing in all three operas was lusty, whole hearted, full-throated, and honest…something personal and passionate that is often missing from evenings of opera in prestigious venues…resounding chorus and experienced orchestra.
OPERA NEWS – Richard Dyer