REVIEW: UFOC stages strong season
Longtime patrons of the Utah Festival Opera Company often find a favorite among the four productions that receive top billing during its summer season. Sometimes there is one that stands above the others as the one to be seen again, if that opportunity arose.
This season finds three of the four sliding into that “see again” category, and the fourth presenting an opportunity to see a strong, individual talent.
Manon Lescaut.
Giacomo Puccini’s tragedy is one of his works that is lesser known among his more often-produced “Turandot,” “Madame Butterfly,” “Tosca,” or “LaBoheme.”
The tragedy in “Manon Lescaut” might well be the pull of worldly riches, taking one away from true love. That, combined with an ending reminiscent of “Madame Butterfly,” where death conquers all.
On opening night, the opening scene was not a grabber — it felt lost in the powerful orchestration. Upon the arrival of Irina Rindzuner, portraying Manon, the cast seems to pick up on her strength. Manon, her brother Lescaut and an older man, Geronte, are traveling through the French countryside, on the way to place Manon in a convent.
The rich Geronte (Bojan Knezevic) persuades Lescaut to delay this decision, as he is quite taken by the young Manon, and Lescaut (played by Michael Corvino), it seems, is quite taken by Geronte’s money.
Meanwhile, Des Grieux (Marcos Aguiar), a student in the town, has fallen in love with Manon, setting up her conflict between her love for him and her love for the lifestyle Geronte has given her as his mistress in Paris.
Along with Rindzuner, Corvino helps carry the production. As he greets his sister at the beginning of Act II, It is easy to see why he has become a favorite in Logan, returning for his fourth season. He has a strong baritone voice that is easy to listen to, as well as strong movements and facial characterizations.
Knezevic shines in the few moments he is given on stage and one wishes he could do even more. Aguiar has some strong moments, but then he might fade a bit in the next solo. His performance seems to come and go without the consistency needed. Remarkably, his duets with Rindzuner may be his best moments.
The ensemble is at its strongest in Act III, where audience members are also treated to an extended prelude by conductor Barbara Day Turner. Pacing is very deliberate. The production feels like the three hours that it ends up being.
But it is the strength and seemingly effortless power in Rindzuner’s voice that carries the show. She ends up being the major reason to see “Manon Lescaut,” though that alone may not be enough to put it in the “see again” category.
Into the Woods
Stephen Sondheim’s musical may start with “once upon a time” and end with “happily ever after,” but in between is frenetic, frenzied action with lyrics right out of a Dr. Suess book.
Easy to watch and enjoy — even with the numerous but well-conducted scene changes — “Into the Woods” combines elements of several time-honored fairy tales and pushes them to conclusion with the help of a usually-evil witch (Joy Hermalyn).
Trying to get out from under a spell cast by said witch is Baker (W. Lee Daily) and his wife (Danielle Hermon Wood). Before they are able to free themselves, the couple end up meeting Little Red (Meredith Taylor), Cinderella (Allison Leaheey), Jack of beanstalk fame (Jonathan Hoover) and his mother (Vanessa Schukis), among others.
Characters who end up almost stealing the show, though, are the princes, two brothers with wondering eyes played by Mark Womack and Kyle Pjortmiller (who also does double duty as Wolf). With their FM voices and overdone hand motions, the princes truly appear to have fun with their roles and their duets are highlights.
As the witch, Hermalyn gets better as the production goes along and by Act II is dominating the stage. Daily and Wood are steady and likable. Everyone on stage tackles their solos with vigor and strength, though one solo nearly got the better of Jack.
All characters get the maximum out of their time on stage, including the narrator Josh Powell.
Pacing is perfect and the audience has a lot of fun trying to keep up with the slightly-different-than-you-might-remember fairy tale.
Given the chance, “Into the Woods” would be a delightful way to spend a couple of hours.
Aida
From it’s eye-opening first scene, “Aida” pleases both ear and eye.
Especially the ear.
Giuspeppe Verdi’s examination of a love triangle, first staged in 1871, doesn’t take long to get its bearings on the UFOC stage. The opening scene is cracker-jack, with solos and ensembles lifting the audience with their strength and power.
“Aida” has images and feelings — much like last season’s “Porgy and Bess” — that burn and stay with you. It will not be easily forgotten. Being in the audience of “Aida” is not like watching a show, but more like being taken to a different time and place.
Aida, masterfully sung by Marie-Adele McArthur, is an Ethopian princess, though known only to her Egyptian captors as a prisoner. From previous peformances, McArthur has been described as “the perfect Verdi heroine, richly musical and emotionally touching.” McArthur proves to UFOC audiences to be that and more as she falls in love with the Egyptian warrior Radames (Arthur Shen).
Shen is a remarkable operatic presence. He absolutely takes over the stage and Verdi’s music, when called upon. His voice must be heard to be appreciated, the flawless power which can felt, as well as heard, by those in every corner of the Eccles Theatre.
Ensembles and choruses in “Aida” are one step stronger than the other productions; there seems to be no holding back. And choral works, when the ensemble combine with Chen and McArthur, are stunning.
Completing the love triangle is Amneris (Lisa van der Ploeg), an Egyptian princess and the King’s daughter, who is also in love with Radames. Van der Ploeg puts her emotions on her golden sleeve and in her voice. The love triangle actually turns into a quardrangle, when Aida has to consider the love she has for her homeland when presented with the opportunity to help her father and turn against her love.
There is not a weak spot in the cast. The Egyptian king (David Ward), Amonasro (Michael Corvino), Aida’s father, and Ramfis (Bojan Knezevic) also do well with Karen Keltner’s driving work as conductor, underpinning the entire production.
Though this may be the first time “Aida” has been produced in Logan, it will be remembered by those who saw it.
1776
If there were ever a production that was destined to be successful – at least in Logan and as brought to the stage by the UFOC – it is “1776.”
From it’s stirring, emotional beginning to the final moments when the image of the Declaration of Independence drops down as a curtain, “1776” is welcomed and appreciated by the local audience.
Opening night saw a color guard present the flags of the United States and the state of Utah to the front of the Eccles Theatre. The audience was then led in the Pledge of Allegiance by a veteran of World War II’s Battle of Iwo Jima. Next was a enthusiastic rendition of “The Star-Spangled Banner,” sung by the entire audience.
The mood was set.
“1776” was staged by the UFOC a decade ago, but this year’s production feels more audience-friendly, less stiff. Cast members appeared to be having more fun and the music presented by those cast members more rousing and full.
The story was engaging, from the first toast of warm rum to the last broken quill.
Particularly likable are David Ward as Ben Franklin, Lara Stevens as Martha Jefferson and Kyle Pjortmiller as Thomas Jefferson. Ward’s shining bass and easy theatrical actions give life to the bigger-than-life Franklin.
Steven’s has a great voice and a smile as big as Rhode Island. She appears to be having a great time on stage and is endearing to the audience.
As John Adams, Michael Ballam is a strong thread to tie the production together. He appropriately shows the give-and-take and struggles that must have been a part of the Congressional Congress wrestling with the concepts of independence. At play’s end, the audience feels it knows John Adams better, thanks to Ballam’s portrayal and talents.
Bottom line.
This season appears to be a popular and strong one for the UFOC. Three of the four easily fall into the Yes column if patrons were asked, “Would I see it again?” The talent of the visiting professionals is apparent and appreciated. Logan area residents should avail themselves of the opportunity to try on this summer’s schedule of music at the Eccles Theatre.