Cinderella proves to be delightful tale; Rigoletto satisfies
Cinderella, we are told, was the belle of the ball. It was this ignored sister that took away the prize when all was said and done.
And so it just might be with this year’s Utah Festival Opera Company’s quartet of strong offerings. “La Cenerentola” (Cinderella) stands above the rest and is the belle of this summer ball.
“La Cenerentola” was powerful right from the start. Conductor Gerald Steichen took the orchestra through a rousing, memorable prelude. Throughout the night, the production’s strong base was Rossini’s score and Steichen’s work. The orchestra was top-drawer and to pause and listen to just their work would have been an evening well spent.
But, luckily, patrons also get to hear from mezzo-soprano Maria Zifchak in her UFOC debut. Whether dressed as the girl cleaning in the ashes or the future princess that she was, Zifchak sang with a deft combination of power and effortlessness. Zifchak had a full-bodied tone that never struggled and always filled the hall, all without a strain. The Metropolitan Opera’s loss was Logan’s gain.
Also enjoyable was the even bass tones of Daniel Cole, playing Cinderella’s father, the Baron of Mountflagon. The pleasant low tones just rolled from Cole.
Father? you say. Wasn’t it a wicked stepmother? Forget the tale you have been told, as Rossini’s delightful tale retains two bad sisters and the common story of love obtained, but no fairy godmother, no pumpkin-coach and a few other twists.
But it remains a love-at-first-sight story, with the curtain falling when the first kiss is finally firmly planted by the prince on his chosen bride.
The “La Cenerentola” cast also finds the mark and takes the audience to new heights during ensemble numbers. Anytime there is a quartet or sextet, or even eight spear-carriers singing together, the power and pleasure is compounded. The first act ensemble number with the father, prince, his valet and his tutor, Alidoro, is particularly memorable, with all voices blending and yet individually piercing.
Curt Peterson has a lifting, wonderful tenor and is perfect as the bouncy young prince. Shon Sims (who, with Cole, has also favored the UFOC with strong outings in past years) is perfect as the prince’s valet, often going in disguise to ferret out the character traits of the sisters.
And it doesn’t take the valet or prince long to see the demerits of Clorinda and Tisbe (Karen Kanakis and Jennifer Herzig), the stepsisters, or their father.
This is a very moral tale, with virtue and forgiveness and charity winning over greed and selfishness. But is done with fun and lightheartedness (while never falling down as a farce) and a constant presence of heart-tugging music.
Get your tickets for this ball.
“RIGOLETTO” is a story about emotions. There’s love and hate, vengeance and revenge, sadness, guilt and half dozen others. It is almost as if Verdi wanted to touch them all.
There are so many emotions, in fact, that Director James Marvel said in his production notes that “each emotion is experienced and expressed in its deepest form. Such a deep and complex psychological work deserves careful treatment. If one is not careful, one runs the risk of allowing all of the emotions to run together and to become generalized.”
That, thankfully, does not happen. It remains heartfelt. It remains a tragedy. It remains an examination of moral and immoral behavior, just as it was penned.
Most of the emotions Marvel and Conductor Karen Keltner intended for the audience to feel were felt, some more than others. The first emotional impression patrons experienced was one of depth and richness, experienced when the curtain was lifted on royal, sumptuous set and matched by stunning costumes. “Rigoletto,” as produced by UFOC, is a treat for the eyes, if nothing else.
The second emotion likely felt was one of appreciation for Jennifer Welch-Babidge, who presented us with Gilda, daughter of Rigoletto. Making her UFOC debut (but a veteran of major opera) Welch-Badge’s soprano was flowing and effortless. She dominated the stage when she was on it and it could be sensed that patrons pled for more from her. The Duke of Mantua, played by Gabriel Gonzalez (on just a short notice, as it turns out, due to some “legal troubles” of the intended actor) was also strong, though his voice wavered a bit during quiet numbers opening night and some of his movements were stiff and tentative.
Michael Corvino could not have been better as the hunchback jester Rigoletto, who keeps his daughter hidden from the Duke for as long as he can. We only wish we could have seen Corvino better, as his facial expressions were muddled and covered a bit with stage makeup and costuming.
The orchestra was more subdued and the score called on the actors to carry the day, which most did. But the memorable delivery of Gilda evened out the production. This is serious, tragic opera, appreciated by those who came to see and feel the variety of emotions.
COMING: Reviews of “Brigadoon” and “The Secret Garden,” which round out the UFOC offerings.