A good performance of Britten's 1947 "Albert Herring" is MORE than a comic
delight (it is that, of course), and so it was tonight at the San Francisco
Opera Center's production in Cowell Theater.

With seagulls crying, perfectly in tune with the music, just outside
the theater that's at the end of a pier, the charming comedy unfolded
brilliantly.  Directed by Lotfi Mansouri, the orchestra conducted by
William Lacey, the Opera Center's young artists did themselves proud.
In the 12-piece chamber orchestra, first violinist Helen Nightengale,
flautist Stacey Pelinka, and French horn player Bethany Zare were first
among equals.

Musically and theatrically, it was all seamless:  the story of the
reluctant young king of the May Festival in a tiny East Suffolk village
(where no suitable candidate is found for a queen) came across in clear
diction, looking grand on John Coyne's splendid sets.

"Albert Herring" is a goldmine of music, with its patter-songs connecting
Gilbert & Sullivan with Sondheim, lyrical passages (especially the finale
of Act 2) as affecting as some of Richard Strauss' orchestral "moments."

Mansouri's special talent is in working with young artists -- musically,
yes, but especially and perhaps uniquely when it comes to dramatic
presentation.  I don't know anybody else in musical theater who can make so
much difference in performances by young and inexperienced singers.  Every
Merola Program participant and Adler Fellow in this production gave much
more than ever before -- and that's what lifted this "Albert Herring" to
these special heights.

Todd Geer, in the title role, ruled the stage, with the most simple tools.
Mansouri kept shticks to a minimum, and Geer had the audience in stitches
even while sitting at the dinner table, saying nothing.

Twyle Robinson's Lady Billows, Katia Giselle Escalera's Nancy, and Suzanne
Ramo's Miss Wordsworth were all vocal and acting triumphs.  In the small
theater, the sound of John Ames' Superintendent shook the walls; even when
singing softly, Ames sounded like the Commandatore, ushering Don Giovanni
to hell.

In all the years of enjoying Opera Center productions, tonight was uniquely
grand and satisfying.

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