CavPag_Granite_State_Opera

By Paul Joseph Walkowski
OperaOnline.us
Granite State Opera concluded its 7th season with two opera favorites that always please. I’m talking, of course, about the dynamic duo of Mascagni’s “Cavalleri Rusticana” and Ruggiero Leoncavallo’s “I Pagliacci,” known simply as “Cav/Pag.” Wow, what a finish it was, particularly the breathtaking and dynamic performance of Leoncavallo’s wonderful “I Pagliacci.” To be sure, both performances were truly memorable, but because “Pagliacci” was so special I’ll deal with that opera first. The energy is still flowing.

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.

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.

As for the cast, ladies before gentlemen: I have seen soprano Nouné Karapetian sing twice before and on each occasion have commented about her clear vocal line, wonderful technique and pleasing, flawless delivery. Yesterday’s performance contained all that and a good deal more: Ms. Karapetian can also act and flirt and dazzle when on stage and her Nedda did all that to the immense pleasure of the audience. Her performance was mesmerizing. She is an extraordinary talent, indeed.

But hers was not the only amazing performance. I read the “hype” on tenor Daniel Rodriguez, “The Singing 911 Cop,” and thought, ‘yeah, yeah, we’ll see.’ After all, how good could he be? Simply, Daniel Rodriguez’ performance was electrifying, pure magic, pure energy, pure emotion and blazing in glory. It has to be his signature role. As Canio (Pagliacci) he stood in a class by himself: a star of easily recognizable magnitude and a force to be reckoned with on the opera stage. There was not a single note he delivered where the audience wasn’t held in his firm control. He inherited the character and by sheer force of delivery blew away any complacency that may have existed. I suspect we’ll be hearing a lot from and about this extraordinary talent in the future.

Hats off, too, to baroitone Phil Lima, whom I saw recently in Opera Boston’s sizzling production of “The City of Mahaggony.” (Mr. Lima did a double here, singing the role Tonio in “Pagliacci” and Alfio in “Rusticana”). He delivered in Boston as he did here with a performance that was animated and lively, with a rounded, controlled vocal performance that was pleasing to the ear. As an aside, Mr. Lima is the kind of performer who sings and acts well and who communicates his role with believability to the audience, which makes him a natural who can enhance any ensemble performance. Well done!

Kudos also to the very talented tenor Steve Carpenter, singing the role of Beppe and whom we saw recently in Granite State Opera’s “Madama Butterfly,” singing the role of the marriage broker Goro, and to baritone Sean Damm, who sang the role of Silvio nicely and whose easy stage presence was remarked upon by a two members of the audience sitting behind me.

But this was a double bill, that started with an equally dazzling performance of “Cavalleria Rusticana” As with “Pagliacci” this cast and the production value of the entire performance was noteworthy. From the beautifully nuanced and delicate entry of the Prelude to the well-known and genuinely moving Intermezzo Maestro Lauriat led the orchestra in an emotionally charged performance that was resonant, full and deeply moving throughout. Couple this with a strong cast, headed by tenor Arnold Rawls who gave a superb performance as the jealous, philandering Turiddo; baritone Phil Lima, who gave an equally strong and nicely acted performance as Alfio, mezzo-soprano Jacque Eileen Wilson, who gave a solid accounting of herself in the role of Alfio’s wife, Lola; mezzo-soprano Janice Edwards giving a believable and solid performance in the role of Mamma Lucia, and soprano Melissa Manseau who gave a good accounting of the jilted Santuzza – all this talent couldn’t miss the mark on a “missing machine, and they didn’t. It was a superb ensemble performance, deserving of the highest accolades.

In both performances we give a tip-of-the hat to Stivanello Costumes Co. Inc, for the colorful sets; Quentin Stockwell for some effective lighting, and Tri-Cities Opera for effective costuming. The fact is, there was little to critique here; it was one of Granite State Opera’s best shows, by far.

This Cav/Pag was Granite State Opera’s finest in every way we measure opera: strong casts, strong set design and lighting, good costumes, and a rendition of two musical scores, both vocally and orchestrally, that rose to a level of perfection that spelled magic to the audience. Bravo, bravo, bravo to Granite State Opera for a job well-done and for a beautiful ending to a magnificent season.

Music and Stage Director, Phil Lauriat
Production Manager, Meghan Beauchamp
Lighting designer, Quentin Stockwell
Sets, Stivanello Costumes Co. Inc.