CENTRAL CITY - Elsewhere, lightning is not likely to strike twice.  But
this is Colorado, with mighty summer storms every hour, on the hour, so
double hits are more possible.  even in the opera house.  And it did happen
tonight, at small, venerable, and ever-surprising Central City Opera's
production of Gioacchino Rossini's "L'Italiana in Algeri," just a couple
of days after a memorable double-bill of "Pagliacci" and "Goyescas."

The good news was instantaneous again, as with Grant Youngblood's "Pagliacci"
Prologue on Tuesday night.  It took only a few measures of the familiar but
tough, tricky Overture tonight to know - at least, to hope - that greatness
is upon us once again.

In the event, Hal France conducted an entire evening of exemplary Rossini:
straightforward, with consistent tempi, flawless balances, and not for a
moment giving in to the temptation to overplay dynamic contrasts.

When France - who conducts orchestras in Utah and Florida - comes to one of
those fff explosions or the peak of a crescendo, there is a rightness about
the sound, it's almost subtle, never excessive or crude.  So often Rossini
comedies are played for circus music; not here.

Throughout the performance, the orchestra balance with the singers was
outstanding, although the young, enthusiastic chorus at times could not be
prevented from impersonating the Mormon Tabernacle or the Red Army Chorus.

France had a fine orchestra to help realize his vision of a "musical
Rossini." The string sections were relentless and enduring, the brass shone
in the second act, and the woodwinds were simply splendid, paced by Lisa
Martin (oboe), Catherine L.  Peterson (flute), Stephanie Zelnick (clarinet),
Jill Dispenza (bassoon), and I wish I knew who played the English horn.

I admit that it's unusual to report about the orchestra first in a
production headlined by the force-or-nature Richard Bernstein as Mustafa, a
terrific young mezzo and tenor in a fine cast, David Gately's crowd-pleasing
direction, Michael Anania's hilarious set, populated by animal-cutouts, and
the driving energy and thunderous reception.  but I found the subtle graces
of the musical performance compelling.  Besides France and the orchestra,
credits should go to Thomas Getty and Sean Kelly for musical preparation,
John Baril - the conductor for "Pagliacci/Goyescas," who is the chorus master.
If he'd only turned the volume down on his troops, all would be perfect.
("Perfect" was the word for Baril's direction of the Granados score on
Tuesday.)

Well, yes, Bernstein.  Think of a combination of Yule Brynner, Attila the
Hun, Bert Lahr's Cowardly Lion, add manic energy, overpowering presence,
and a voice shaking half the county.  May just as rename the piece "The Bey
of Algers," which is *not* to say that Bernstein performed apart from the
ensemble.  He did, but he is just too big for a small house.  Vocally, he
was accurate and entertaining, although some of the sheen of prior years was
missing tonight.

If it weren't for her 100% female appearance (and some fabulous outfits,
coming either from the Washington Opera or the additional contribution of
Alice Marie Kugler Bristow), Viktoria Vizin, the spectacular Isabella, may
be mistaken for a male mezzo in drag.  Perhaps better described as a female
baritone, Vizin packs unique power in the lower range (in a way quite different
from Marilyn Horne), she is solid through the entire extended range of the
role, and can even reach the high notes comfortably.  Accurate and projecting
well, she makes for a remarkable singer, although there is an element of
self-consciousness in her performance that's still holding her back.

No such problem for Brian Downden, the Lindoro, my favorite in this
exceptional cast.  A young man of small stature and proudly exhibited
premature male pattern baldness, Downden gives the impression of being
supremely comfortable on stage, and - more importantly - ge sings without
the slightest effort.  Here's a lyric tenor, who could go to the top of the
genre and stay there for any number of years.  His is a voice - flexible,
right on the money, and with a beautiful clarity - that doesn't get old.

Lorraine Ernest's Elvira (especially in the Act I finale) and Michael Rice's
Ali were noteworthy, along with the chorus and supernumeraries, who sang,
danced, and pratfalled their way into the audience's heart.  (As long as
one is making up verbs, shouldn't that be "pratfell"?)

Janos Gereben/SF
www.sfcv.org
[log in to unmask]