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Once again, as we have in the past, OperaOnline.us asked its writers to submit the “Best Of” what they saw and heard in opera in the previous season.
This year, Carie Delmar is writing from California, R. Todd Shuman is writing from Chicago, and this writer is penning his thoughts from Boston. Joseph Giannino who covers Washington, Baltimore, Virginia and Philadelphia, was unable to offer nominations this year due to a pressing work schedule, but we look forward to his input next seaspn.
Last season we covered 52 performances of opera. The following are our opinions and rankings. To those who won: Congratulations! To those who performed and entertained audiences throughout the year, we say, Thank You for a GREAT season.

BEST OPERA: The winner is, GRANITE STATE OPERA, for its production of “I Pagliacci.”

This writer attended twenty operas last season and observed and heard some truly outstanding performances. Of all the shows, however, one stood our for its sheer power and impact overall, and it is to that one that we award our “Best Of” for the 2006-2007 season. The opera is Granite State Opera’s “I Pagliacci,” viewed on May 13, 2007. Of that show, I wrote: “This Pagliacci was, perhaps, one of the most emotionally moving opera experiences I have had in a long time. It was delivered with perfection by an impressive ensemble cast, accompanied by an orchestral performance that transformed each musical moment into a deeply personal and highly charged experience. It was that good. As I sat watching and listening, I kept thinking to myself just how lucky this audience was. This is what opera is all about; this is the beauty of the musical line and the power of a strong, involved delivery from a cast that is at the top of its game, every one.”

BEST PERFORMANCE OF AN ORCHESTRA: The winner is, GRANITE STATE OPERA, for its dual performance of “Cavalleri Rusticana/I Pagliacci.”

For the reason that we awarded this year’s, “Best Opera” to Granite State Opera, we award the “Best Performance by an Orchestra.” The selections for this category were difficult because we heard some amazing performances, not the least of which was Gil Rose, Leading Opera Boston in “Mahagonny,” and Keith Lockhart, leading the Boston Lyric Opera in the mesmerizing, “Pear Fishers,” but when it came to the performance that visibly captivated the audience the prize has to go to Phil Lauriat’s conducting of the Granite State Opera in its brilliant rendition of Pietro Mascagni’s “Cavalleri Rusticana” and Ruggiero Leoncavallo’s “I Pagliacci” Of its performance in both I wrote: “The orchestra, under the direction of Maestro Philip Lauriat, who also doubled as stage director, actually spoke to the words, melding music and story line into one seamless tapestry, drawing out all the energy and talent of this amazing cast and fine orchestra.”

BEST LIGHTING DESIGN: The winner is, CHRISTOPHER OSTROM, for Opera Boston’s, production of “The Pearl Fishers.”

It is fitting that Mr. Ostrom, the resident lighting designer for Opera Boston wins this year, as this particular performance was dedicated to him, it being his 30th collaboration with the company – but that’s not what earned him this year’s award. No, indeed! “Pear Fishers” was lit magnificently and imaginatively, especially the opening sequence where the entire stage was cast in black behind a translucent scrim with illuminated oversized pearls on stage. In this setting, a swimmer was lowered slowly from the rafters on wire, as if swimming to the bottom of the ocean. Of that sequence, I wrote: “Visually, the audience at Friday night’s opening performance wasn’t disappointed. Opera Boston and its talented lighting and design staff bathed the Cutler Majestic stage in magnificent colors and imaginative set design, bringing this story to life with great success. “

BEST SET DESIGN: The winner is, SUSAN ZEERMAN ROGERS, for Opera Boston’s, production of “The Pearl Fishers.”

When the set and lighting designer work as seamlessly as was done in this hypnotic production, the audience gets pure magic, and Ms. Rogers’ imaginative sets carried the day from the opening sequence to the end: simple, austere, effective and imaginatively utilized. Well done!

BEST COSTUMES: The winner is HAN FENG, for the New York’s Met’s production of “Madama Butterfly.”

“Madama Butterfly” has been performed many times and the costuming for this show is predictably uncommon. It is precisely because of this that Mr. Feng wins this year’s award in this category. The costuming was not just beautiful and detailed, as only the Met can do it, but the use of the costume itself to simulate the horror of “seppuku” or the more vulgar term, “hara-kari” was a real show stopper and so effectively done that many in the audience audibly gasped when it occurred.

BEST STAGE DIRECTION: The winner is SAM HELFRICH, for Opera Boston’s production of “Mahagonny.”

When you can get a group of professional singers to bump and grind on stage and make it look so natural, clad in panties and bras and shorts for the men, you are really cooking, and Sam Helfrich was certainly cooking here with smart stage direction and use of choreography and acting to make this otherwise monotonous opera shine.

BEST CHOREOGRAPHY; The winner is GAYLE MADEIRA for Opera Boston’s production of “Mahagonny.”

As noted earlier, the dance sequences for Opera Boston’s “Mahagonny” were spellbinding and hypnotic, and gave this opera a genuine “Cabaret” look and feel so much so that it actually lifted the score above what it would otherwise deserve. With choreography that good, it’s hard not to acknowledge it as the “Best Of” what we saw in this category.