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Just as daylight saving time went off and left us in the dark, and grim superstorm damage led the news for days, Virginia Opera brought us the welcome lightness and good cheer of their current production of Die Fledermaus at the Harrison Opera House November 10. It really is not to be missed!

Sung in English (and with nice, crisp diction), the story of an elaborate revenge prank sailed along from hilarity to hilarity. From overture to final curtain, it was a flat-out triumph for stage director Dorothy Danner, who recreated what she calls “the giddy atmosphere of Strauss’s Vienna” and “the whirling euphoria of 1874.” Throughout, especially in the big second act scene at Count Orlovsky’s ball, with dancers and singers and supernumeraries (even a small shaggy dog) jammed together onstage, Danner created engaging movement and brilliant bits of stage “business,” all of which moved the plot along briskly, illuminated character and made the music arise naturally from the moment’s actions.

Danner was ably abetted by conductor Gary Thor Wedow, who led the orchestra of Virginia Symphony players at a breakneck pace without anything feeling rushed— quite a feat. Scenic designer Erhard Rom and lighting designer Eric Southern conspired with Danner to turn the orchestral overture into an integral part of the plot behind an attractive scrim, which set things up for the story to follow by showing—not just telling—how, after partying too heartily, Dr. Falke, costumed as a Fledermaus, a bat, had been abandoned on a park bench by his friend Eisenstein—to be discovered, to his horror, by park visitors.

The cast was more than equal to the opera’s dash and daring. Christopher Burchett’s supple baritone and tall, elegant physique drew the audience into Dr. Falke’s complicated revenge plot. Baritone Philip Cutlip was delightful as Falke’s philandering friend Eisenstein. Eisenstein’s wife, Rosalinde, was ably sung by soprano Emily Pulley, who came into her own in the second act when she appeared at the ball as a masked Hungarian countess, singing the Csárdás with deep passion, and dancing with warmth, confidence and humor.

Pert, perky soprano Sarah Jane McMahon sang Rosalinde’s maid Adele cheerfully, with a bright, sure voice. As Rosalinde’s former operatic boyfriend, still pursuing her after her marriage, tenor Ryan MacPherson easily tossed off bits of arias from a variety of operas, often from offstage, with little loss of power or tone.

Mezzo Abigail Nims had great fun with the trousers role of Orlovsky, the Russian count who is bored — B-O-R-I-N-K—by life. The diminutive Nims played the Count as a sort of spoiled brat; it worked. And Nims made the most of Orlovsky’s two big arias—“Chacun à son goût” (each to his own taste) and the rollicking champagne song.

Neil Ferreira was a hilarious Dr. Blind, Eisenstein’s bespectacled lawyer, who whips through a nifty near-Gilbert- and-Sullivan patter song. Bass-baritone Jake Gardner brought both gravitas and lightness to the role of Frank, the jail warden.

One must mention Grant Neale’s hilarious non-singing turn as Frosch, the drunken jailer, in the final act. He clambered over the scenery like an acrobat, tossing off bad puns, always reeling on the brink of disaster, but never quite getting there. That sort of physical comedy requires superb timing, not to mention stamina—and Neale was brilliant.

Well, the whole show was— light, fizzy and as intoxicating as the best champagne!

-- M.D. Ridge, WHRO

This review was originally broadcast on WHRO 90.3 FM’s “From the other side of the Footlights.”

The Latest

The Quick and Dirty Guide to Richmond Opera

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With its formal dress, foreign languages and shouts of bravo, attending the opera can seem a bit daunting to the outsider. But it doesn’t have to be. If your closest brush with the art form is Bugs Bunny and Elmer Fudd in “What’s Opera, Doc?” here’s a quick, dirty and highly subjective guide on how to attend.

Why I like opera: In a sense, it’s a combination of the best of all art forms — the best music, sets, costumes and dancing. Furthermore, it gets darker than many other art forms. I’ve seen musicals in which nearly every character dies, only to have them come back for one last rousing number to send the audience into the streets humming. Not so with opera, where the stories often end with the most devastating things imaginable happening.

Starting off, stick with the classics: I’m not trying to wave you off of Richard Wagner or any other composer, but if you’re worried that one bad opera experience will scar you forever, the tried-and-true audience favorites are the way to go.

Georges Bizet’s “Carmen” may seem like opera’s equivalent of ballet’s “The Nutcracker.” But it’s popular for a reason. “Carmen” has a fantastic story, great characters, Spanish dancing and a score that you can probably already hum most of.

Georges Bizet is my favorite — I think the tenor-baritone duet in “The Pearl Fishers” is the most beautiful piece of music on the planet — but Giuseppe Verdi is generally considered the gold standard. It’s hard to go wrong with Giacomo Puccini and Wolfgang Amadeus Mozart as well.

Do your homework: Like William Shakespeare, your enjoyment of the opera will be magnified by how much effort you make ahead of time. It’s common for audience members to listen to a recording of the show or read the libretto beforehand to refresh themselves. I recommend at least reading a synopsis of the plot.

Wikipedia can do the trick, but if you prefer your synopses in book form, I’m a fan of Eyewitness Companions’ “Opera,” by Alan Riding and Leslie Dunton-Downer. It’s accessible, attractively laid out, and provides a good synopsis of the most popularly performed operas. For something more in-depth, try Sir Denis Forman’s “A Night at the Opera.”

Supertitles: Worried that you don’t speak French or Italian? Don’t panic. Most opera companies — including the Virginia Opera — project the dialogue above the stage in English (it’s usually someone ranting about love or jealousy). Even operas in English like “Porgy and Bess” often have supertitles, because it can be hard to make out the words. At some opera houses, the supertitles are displayed on small seat-back screens.

Tickets and seating: If you don’t mind sitting in the nosebleeds, tickets are less expensive than you think, starting around $25 for the Virginia Opera. While closer seats might give you a better view, opera is such a showy medium that you won’t miss as much of the action as you would at a standard play. The visuals translate well, and you can still hear everything perfectly. Also, just because a seat is more expensive doesn’t mean it’s a better spot. In many opera houses, the best place to hear is at the front of the balcony, not the orchestra level. Savings also come from subscribing or buying group tickets.

Run time: Though it won’t be exact like a movie run time, a little research can let you know how long an opera will be. Most operas are in the two- to four-hour range, with a varying number of intermissions. Take advantage of the restroom during these breaks.

What to wear: Traditionally, opera garb consists of tuxedos for men and formal wear for women, but Richmond prides itself on being a casual city. Friday openings will have a few tuxes, but mainly business suits for men and formal or cocktail dresses for women. Sunday matinees are very casual here, with anything other than jeans and a T-shirt seemingly OK. Perhaps business casual or casual chic is the mark to hit. Virginia Opera performs its shows in three cities: Norfolk, Richmond and Fairfax. If you happen to attend an opening night in Norfolk, many men will wear tuxedos, so dress appropriately.

Audience participation: When it comes to clapping, simply do what everyone around you does. A pause in the singing is sometimes only for dramatic effect, or to bring attention to an orchestral interlude. Just relax, and wait for everyone else.

After an aria — a long-song solo — shouts of “bravo!” are meant to applaud male singers, “brava!” for female — though “bravo!” seems to be fine for both sexes in modern times.

Just don’t shout “bravissimo.”

It sounds pretentious.

The Fall Season

Virginia Opera is staging three performances this fall, starting with a doubleheader of “The Seven Deadly Sins” and “Pagliacci” (Oct. 14 and 16), followed by “The Barber of Seville” (Nov. 18 and 20). Both are at the Carpenter Theatre.

Best known for “The Threepenny Opera,” Kurt Weill collaborated again with playwright Bertolt Brecht on “Seven Deadly Sins.” This sung ballet is about sisters, named Anna I and Anna II, who travel through seven American cities in seven years to encounter each of the seven deadly sins. Virginia Opera’s production will star Weill specialist Ute Gfrerer in her American operatic stage debut.

Meta before meta was a thing, Ruggero Leoncavallo’s “Pagliacci” tells the story of Canio, a clown who must play an onstage character who’s been cuckolded after finding out about his wife’s real-life infidelity. Before things end horrifically for all involved, we’re treated to “Vesti la giubba,” one of the best tenor arias around.

Gioachino Rossini’s “The Barber of Seville” is an opera buffa, or comic opera, about men seeking the same woman’s hand in marriage. Figaro, Italy’s answer to Falstaff, is a mischievous barber who helps the Count Almaviva woo the beautiful Rosina. Filled with comic antics, disguises and such great Rossini tunes as “Largo al factotum,” “Barber” is considered by many to be the greatest comic opera ever written.

 

Opera review: Vivid voices propel 'Roméo et Juliette' at the Lyric

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If you've been hesitant to give Lyric Opera Baltimore any attention (and from the empty seats Friday night, I'd say that means a whole lot of you), the company's season-ending presentation of Gounod's "Romeo et Juliette" ought to win you over. It's a very respectable venture, thanks to vivid music-making and a handsome staging.

Filling the title roles are singers with the assurance and style to meet the opera's vocal demands. They also possess the acting finesse to create persuasive portrayals of the unfortunate lovers who dare to cross the long-monitored lines drawn in the sand by their respective feuding families.

On Friday, Jonathan Boyd used his sizable tenor elegantly, nowhere more so than in his balcony scene aria. Top notes were not always effortless, but there was an exciting metal in the tone when the music heated up, especially in Romeo's passionate outburst at the news of his banishment after the deaths of Tybalt and Mercutio.

As Juliette, soprano Sarah Joy Miller could have been singing in any number of languages, but what she lacked in clarity of French enunciation, she more than made up for in the theater-filling brightness of her voice and her unfailingly beautiful phrasing. She's an unusual talent. It would be great to have her back in town soon.

The veteran bass Kevin Langan gave a sympathetic performance, vocally and theatrically, as Frere Laurent, whose efforts to help the lovesick couple get so tragically derailed. Among those also making vibrant contributions: mezzos Kimberly Sogioka (as Romeo's page Stephano) and Susan Nicely (as Juliet's maid), baritone Luis Alejandro Orozco (Mercutio) and tenor Daniel Curran (Tybalt).

The chorus produced a warm, mostly cohesive sound. In the pit, the Concert Artists of Baltimore hit a few bumps but played Gounod's finely crafted score with considerable fire and nuance (that score has been trimmed a bit for this production). Conductor Adam Turner provided sensitive guidance for singers and orchestra alike; he sculpted the post-wedding bedroom scene and finale with particular tenderness.

Visually, the finely costumed production hits the spot. The sets, designed by Michael Baumgarten and Bernard Uzan, evoke old Verona nicely enough, with projections filling in details as needed. Baumgarten's lighting, more subtle than usual at the Lyric, is a major asset, right from the opening scene's lovely golden hue. Uzan generally maintains a firm pace and freshens up several scenes, but also falls back on some old-fashioned stand-and-deliver poses for the singers.

Whatever provincial elements pop up in this "Romeo et Juliette," the overall quality affirms what Lyric Opera Baltimore is capable of doing to keep the art form a part of this city's cultural fabric. That's what the old Baltimore Opera Company managed to do for decades; its successor deserves a chance to do the same.

Lyric Opera will salute Shakespeare milestone in French with 'Roméo et Juliette'

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The Baltimore Sun

When it comes to tragedy, it's still hard to beat the one about "a pair of star-crossed lovers" named Romeo and Juliet, who defy their feuding families and are denied happiness by a dreadful series of circumstances. If there's anything that can intensify Shakespeare's compelling drama, it's music.