LA CENERENTOLA (Rossini) Florida Grand Opera Young Artist Studio. May 12/14, 2000
Luis Angel Catoni
weekent ad Miami Beach's Colony Theater, where the members of the young
artist studio staged a chamber production of Rossini's masterpiece,
without chorus and for reduced orchestra. The reduction by Elaine
Rinaldi worked quite well, even if, of course, one missed the full
string section in some passages (there was one string player per section
and a good nurtured wind section). The chorus parts were simply cut
when they had to sing solo, except the first one "O figlie amabili"
which was sung by the disguised Ramiro in an anticipated appearance. In
all, and due to the characteristics of the Colony and the type of
performance itself, it worked well. There were the standard cuts apart
from the chorus parts, with only the first aria for Magnifico.
Repetitions were sometimes cut, as well as reprisals in cabalettas
(except, of course, the final Rondo). Alidoro got neither the Rissini
aria "La nel ciel" nor the until a few years ago nor the Agolini aria
"Vasto teatro", but Clorinda did get her own Agolini piece, which I
hadn't heard live since my very first Cenerentola with Teresa Berganza
back in 1971!! On the whole the show did work, and gave way for FGO
Young Artists to be exposed to difficult situations that they solved
mostly with at least great dignity, in some cases spectacularly.
The production consisted of three elwements which could be moved and
turnedaround for each of the fours scenes. It was designed by technical
apprentice G. Alexandra Hanson. Costumes and wigs were also quite
adequate, though maybe the valet disguise for the second Ramiro (some
roles were double casted) was a bit too flashy. He almost looked like a
prince. The direction itself was fluid, but it abused some effects that,
in small doses, were quite funny, like Clorinda'sd dance steps. Stewart
Robertson conducted the orchestral ensemble with good style and musical
sense. The performance was sparky and very alive. By the way, I can
never get saturated of listening to this wonderful piece. There is so
much variety to it, maybe more than in any other Rossini piece. Humor,
love, feeling, lyricism.....
Armando Lazaro Naranjo was an able Alidoro, even if he did not have the
great personality that can make this role a star. A member of FGO's
chorus, Mr Naranjo did nevertheless a very good job that rounded off the
cast.
The first set of sisters (both were vocally excellent) were Kathleen
Magee, a high thin voice and Frankie Hatcher, a mezzo that was well in
contrast with her. Both were funny on stage most of the time and
completed the vocal ensemble. So dis Elisabeth Caballero, a fuller
voiced Clorinda, and Sarah Miller, a sopranoish Tisbe. In this case the
voices were closer in color. Both pairs of sisters did a very good job.
Nathan Wentworth was the one that found himself most alien to the style
of the opera. his voice is not particularlyt interesting, and he has not
mastered the art of coloratura. His voice broke once or twice on May 14
and his intonation was not always flawless. He did play the character
well, but his singing did not have the spectacularity that a Dandini can
achieve. Well, you just don't find Rossini baritones around the corner,
and in this cast he was the one that seemed more out of his element.
There were two Ramiros, neither of them a Rossini tenor, but in
different ways they did accomplish more than a few nice things. Scott
Ramsay does not have an italianate sounding voice. His has a nice
velvety qauality and a good musical production and one can imagine her
should be more vomfortable in Mozart than in the fiendish Rossini
passages. Yet he did transmite a sense of good taste in his phrasing and
with the use of his head voice for his high notes. Timothy H. Olson has
a voice that one can identify as that of a "tenore di grazia", well
produced and beautifully placed. His high notes lose body and come out
very thin, but otherwise his phrasing was quite italianate. He also does
nott fully master coloratura, but he saved those passages with dignity.
Well, T. Steven Smith is one of those guys that should devote himself to
parts like Magnifico. He has a solid voice, big and well produced, an
incredible physique, a hilarious rubber face and despite his size he is
an incredibly flexible actor. His italian is very well pronounced. There
are two things he should work on and he could be a top star in these
type of roles. He need to dominate patter singing. he did OK but was
still not completely at easy (his first patter section in his aria "col
ciu ciu" was cut). And he needs to make Italian his second nature so
that he can squeeze out all the effects from the text he is saying, both
from its context and from the pure sound of it. Phrases like "Lo dica ad
un Papa!" stresssing the Pa-pa can become even funnier. He already does
a very good job, but I guess time and experience will even polish more
his characterizations. I look forward to see him some day in Mustafa,
Don Geronio, Dulcamara, Bartolo or Pasquale.
But in this performance there was an element that is not a promise, but
a splendid reality. Only one thing prevents me from saying "A star is
born" and it is the nature of this performance. Had it been a mainstage
fully staged production that phrase would be right on target. And I
guess she is the reason why FGO chose La Cenerentola for the occasion.
Jennifer Ann Cooper. Here is a fantastically placed, beautifully
colored, impecably produced voice that can sing flawless and spectacular
coloratura yet can shade every phrase of her role. Now commanding, now
lyric, now anguishing, now happy, her Angiolina was a pleasure to the
ear and to the eye. Ms cooper has given us memorable performances of
supporting roles in her two seasons here. Just this year she was an
imposing Giovanna in Rigoletto, a bright Mercedes in Carmen and just a
week ago Mme Larina in Oniegin. She had been telling us through those
performances that something great was coming, and here it is. She is
returning next year as guest artist for extra performances of Barbiere.
Meanwhile she will be missed, but she has a brilliant career in front of
her. Jennifer, thanks a lot for everything, and please come back. Don't
forget Miami, and take care of Rossini as good as you did this weekend.
The burst of ovation at the end of your Rondo and the standing ovation
should be the first of a long series to come. The way you handled all
your part, and ended it so spectacularly, with those clean, smooth runs,
powerful high notes and captivating phrasing should take you far up to
stardom. But keep us in your heart. We will keep you.
--
HAPPY LISTENING / FELIZ ESCUCHA / FELICE ASCOLTO / FELIÇ ASCOLTAR
Luis Angel Catoni
barb...@bellsouth.net
Ho da fare un dramma buffo e non trovo l'argomento.
Sergio Henrique Monteiro da Silva
Let me add that I also think Jennifer will be a great star in the future if
she continues this way. And besides she looked ravishing.