And speaking of feasts, the first opera/musical theatre we saw was Sweeney Todd, The Demon Barber of Fleet Street by Stephen Sondheim and Hugh Wheeler. This has been one of my favorite pieces of musical theatre for a long time. I saw the original production on Broadway with Len Cariou and Angela Lansbury as well as the Boston version with Dorothy Louden as Mrs. Lovett.
This version was well cast as far as the singing and acting went. Greer Grimsley sang a strong Sweeney but could have been more menacing, Luretta Bybee was a perfect Mrs. Lovett, equaling Angela Lansbury in every way, Anthony Hope was sung by Harry Greenleaf, a wonderful young tenor and Johanna by Emily Pogorek, an equally fine soprano.
Harry GreenleafThe only disappointment was the set and costuming. Two enormous flats painted Beige with a sort of six foot tall chair rail at the bottom. Mrs. Lovett was in a teal waitress outfit that would look right at the old Woolworth's soda fountain counter, then in act two, in an evening gown. Others in the cast were sometimes in costumes appropriate to 1847 when the book was written and which choice was made in the original production. There was no raised platform for Sweeney's barber shop, meaning that when he cut the throats of various people, instead of being slide down through the floor to the oven, got up and walked away after they were supposedly dead. The Scenery designer obviously never saw the original production.
Friday afternoon we saw an amazing recital by Stephanie Blythe. I had never heard her in person before and she blew me away literally! What an enormous voice. Her program consisted of a song cycle, Vignettes: Ellis Island, by Alan Smith, who was her collaborator at the piano. This was followed by a sort of community sing led by her called Sing, America.This sounds a little hokey, but she brought it off in great style with an enthusiastic audience joining in the fun. She is a lively sensitive performer who, in my opinion, can do no wrong!
That evening we saw The Crucible by Robert Ward and Bernard Stambler, based on the play of Arthur Miller. This is a powerful work, contemporary but tonal, that details the Salem witch trials of the 17th century. All the singing and acting was exceptional, especially Brian Proctor, Jamie Barton, and Jay Hunter Morris. Glimmerglass must have someone with an incredible ear doing the casting. They also have a marvelous troupe of apprentices who perform many of the roles in their productions.
Saturday evening brought La Bohème of Puccini. Michael Brandenburg as Rodolfo has the power and range for the role but I would prefer a lusher voice in this role. Raquel Gonzalez started the evening with a very fast flutter in her voice which eased up as the opera proceeded. Hunter Enoch was excellent as Marcello and Rhys Lloyd Talbot was good, if a little light weight for Colline.
Rachel GilmoreSunday matinée was The Thieving Magpie by Gioachino Rossini and Giovanni Gherardini. Lots of great coloratura singing especially by Rachel Gilmore and Dale Travis. For some reason Musa Nggungwana chose to sing very lumpy runs as the Mayor. Perhaps he was directed to do so for reasons of dramatic character, but it was not good singing.
Dale TravisThe whole weekend was a delightful time to wallow in opera and hear a number of very good singers. I wish all the best to the young artists who are just at the beginning of their careers and are showing so much promise. Sing On!
