Grand Performances by Singers, Orchestra, Chorus, Acrobats and More
By GEORGE B PAROUS
A good-sized crowd was on hand at the Benedum last night, when Pittsburgh Opera gave the first performance of their Cavalleria Rusticana and Pagliacci double-header production. Both operas were well worth hearing, but in fairness it must be said that the second opera came off better than the first. Still, anything conducted by Antony Walker is grand opera at it best, and the overall impression made last night was success, richly rewarded by long sustained, hearty applause. At the final curtain of the night, the audience had more than the singers, orchestra and splendid chorus to applaud. Truly astonishing feats by acrobats and stilt-walking jugglers from the BooglepLex Circus awed the crowd and, alone, are well worth the admission price. Beautiful music, richly performed, was the atmosphere of the night, and if individual performances by any of the singers seem perfunctory, it is only due to time and space. The stage wallowed in a wealth of vocal talent.
Cavalleria Rusticana, to a large extent, needs a brilliant orchestra and chorus. It got more than both last night and then some. So did Pagliacci. Antony Walker has been noted on numerous occasions for being the splendid conductor he is, and last night he gave yet another example of what he and the orchestra can deliver. It was another display, in both operas, and, barring a few unfortunate slips, of the powerful and precise accompaniments these instrumentalists can be counted on to give. The chorus, directed by Mark Trawka, and augmented by the Pittsburgh Youth Chorus, gave brilliant accounts of themselves, especially in the swelling climaxes. The supernumeraries and actors, like the chorus, were brilliantly costumed and very impressive. One point on the costuming drew an amusing question, overheard. Why were Sicilian peasant women wearing such high-heeled shoes? Even two nuns were wearing them.
Turiddu (Rafael Davila) has a request of his mother Mamma Lucia (Marianne Cornetti)
Veteran Marianne Cornetti, in the role of Mamma Lucia, managed to run away with the show and dominated the stage with her every appearance. She sang like the seasoned vocal artist she is, and managed to command the eye’s attention even when she wasn’t singing. Mezzo-soprano Eve Gigliotti, as the hapless Santuzza, sang with velvety smoothness when she wasn’t forcing her tones, which was frequently the case. But she wasn’t the only one who seemed to fear they might not be heard over the orchestra. Tenor Rafael Davila, who made much of the role of Turiddu, also showed a tendency to force his otherwise brassy tones. Both Gigliotti and Davila made their Pittsburgh Opera debuts.
Audrey Welsh, a first-year Pittsburgh Opera Resident Artist, made her debut in the role of Lola. She was a crowd pleaser, making the most of her brief opportunities with a smooth and velvety mezzo-soprano voice and fine stage appearance. Baritone Sebastian Catana, the only singer to appear in both operas, sang and acted the role of Alfio in strong and reverberating tones.
Santuzza (Eve Gigliotti, left) does not want to hear what Turiddu (Rafael Davila) has to tell her
Turiddu (Rafael Davila) toasts his married mistress Lola (Audrey Welsh)
In Pagliacci, even better things came. As Canio, the hot-blooded clown, tenor Jonathan Burton returned to give a performance that gave Pittsburgh Opera ample proof that he should be engaged as often as possible. His full-bodied, rich voice rang out resoundingly – never forced – and he happily avoided the temptation to overdo the laugh and sob effects in the role’s famous “Vesti la giubba” aria. Soprano Caitlin Gotimer, well known to Pittsburgh opera aficionados, returned to sing the beautiful music of Nedda, the equally hot-blooded wife of Canio. “Gotimer is a force of nature,” Broadway World has called her. Last night she sang gloriously. The tension between her Nedda and Burton’s Canio was palpable. Her interpretation of the role’s famous “bird” aria was a highlight of the evening.
Nedda (Caitlin Gotimer)
Tenor Fran Daniel Laucerica, who returned to the stage as Beppe, gave a delightful performance, both by his singing and his comic stage deportment. He’s definitely proved himself as one of the finest tenors that the company’s Resident Artists program has delivered to Pittsburgh audiences. Sebastian Catana’s second performance of the night, as the passionate, sinister Tonio, sang the prologue before the curtain with a tendency to force, but gave a gripping account of the role’s music after the curtain went up. Baritone Ricardo José Rivera, sang and presented a Silvio who easily explained Nedda’s fascination. Sean Donaldson and Logan Williams, as peasants, quite capably rounded out the cast. It should also be noted that, as brilliant as the chorus and supernumeraries were in the first opera, they were even more so in the second.
Nedda (Caitlin Gotimer) and Silvio (Ricardo Jose Rivera) embrace
Canio (Jonathan Burton) announces his troupe’s upcoming performance to the villagers
Overall, this is a production that shouldn’t be missed. The operas will be repeated, as usual, Tuesday evening, November 12; Friday evening, November 15, and the Sunday matinee, November 17.
Again, as usual, the full production information, TICKETS and more can be found by visiting Pittsburgh Opera.
The Artistic Team –
Conductor, Antony Walker; Stage Director, Daniel Rigazzi; Scenic Designer, Steven C. Kemp; Costume Designer, Edward Kotanen; Wig and Make-up Designer, James Geier; Lighting Designer, Cindy Limauro; Stage Manager, Cindy Knight; Assistant Conductor, Glenn Lewis; Chorus Master, Mark Trawka; Associate Coach/Pianist, James Lesniak; Resident Artist Pianist, Maeve Berry; Assistant Stage Director, Dana Kinney; Assistant Stage Managers, Bee Anderson, Tess Naval
Costumes provided by Sarasota Opera Association, Inc.
Scenery and Props for this production constructed by Lyric Opera of Kansas City.
David Bachman Photography for Pittsburgh Opera
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