They all do IT - freely after Mozart..

Cosi Fan Tutte at Opera in the Heights was tremendous.
I apologize in advance, if it looks like descriptions having been cribbed from various articles..
which I did NOT read. Until I post here!
Then I will read them! :-)! Friends are always sending my snippets and clippings...

But having seen last night's production (11/17 Emerald Cast) what I can,
want to, say about it probably repeats others' reviews.
The cast was exceptionally well matched.

Naturally, as I favor the deeper voices (men, more - a course :-)!
Erik Kronke's Don Alfonso, was enthralling. And judging from the applause and bravos on taking his bows at the end, so felt the rest of the audience.  And it was well deserved. Bravo Erik Kronke!
BTW he will be back for Anna Bolena in January 2012!

Erik Kronke
Photo By Gwen Turner Juarez - Thank you.

The orchestra played spiritedly under the energetic baton of Maestro Carreon Robledo, with special dedication, methinks, by the strings!
Soprano Emily Newton as Fiordiligi gave a beautifully paced and finely drawn performance. Her big rich voice rang true and strong throughout.
Well matched by the flirty Dorabella of Mezzo Ann Sauder. Who, so we learn, has taken on this role for ALL performances. Brava Ann Sauder!

Both, Tenor Emanuel-Christian Caraman as Ferrando,
and Baritone Kevin Wetzel as Guglielmo sang and acted truly well.
Caraman used his fine Tenor very pleasantly.
Wetzel projected some humor (IMO) into his portrayal.

Jennifer Whalen  was a sprightly Despina, although I for one, felt her mugging and falsetto singing as the Notary a bit too Keystone Cops-ish! Just my opinion, of course!
Otherwise she was a pleasant addition to the strong cast.

The OH! Chorus, who doubled as stage hands, did it all amusingly well.
The staging's great bright lightening made the tiny stage at Lambert Hall look surprisingly spacious!
Three more perfomances.. tonight (Ruby Cast), Saturday (Emerald) and Sunday afternoon (Ruby)!
Having said all that, I now must admit, that COSI is not my favorite Mozart Opera.
It just seems too long. Beautiful and exiting music notwithstanding!

Several scenes could be easily shortened without lessening the plot,
perhaps even strengthening the satirical impact of it.

And as in Don Giovanni - which does happen to be a big Favorite of mine -
The moralizing sextetts at the end of either opera actually detract from it.
Let Don Giovanni end with the Don's fall into hell!
Just my opinion...

Don Carlo at The OH!

There are several versions of this Verdi Masterpiece.
The original French version of 5 acts is called Don Carlos.
Over 20 years various 'abridged' versions were tried, finally culminating in that Italian language version as seen at The OH! Thursday (with Emerald Cast).  There was no ballet scene as in the French version.

So here is a sample of what maybe missed by some ballet/opera lovers :-)


ONLY 3 1/2 hours including 2 short intermissions.
All are based on the Schiller Play.

BTW the Auto De Fe scene was cut as well.  The only hint of the horrors of the Spanish Inquisition were two cowed, cowled extras who stood with bowed heads and were shortly thereafter escorted off stage.

Having cut the Woods of Fountainebleu scene, makes it perhaps a bit confusing at first.
That act explains that Elisabetta, originally affianced to Don Carlo, was given in marriage by her father to Don Carlo's Father, King Phillip, which makes what follows more understandable.

Under Maestro Enrico Carreon Robledo the OH Orchestra produced lavish sounds, especially the string section, despite the diminished size as is the case in the intimate house of The OH!
Whereas in a bigger house  many more instruments are to be heard, here several of the players had solos and managed them quite well.
Staging, again due to the size of the house, was simple and mostly well lit.
Costumes were period style - quite suitable for a Spanish Court.



Elisabetta/Newton
by gwenturnerjuarez

 Elisabetta was sung with regal grace and a bright expressive soprano by Emily Newton, a native Texan.

Rodrigo/Lickteig and Don Carlo/Darling
by kinjotx



Don Carlo, Tenor Neil Darling, sang with fervor. His voice blended well with the burnished, quite powerful baritone of  Daniel Lickteig as his friend Rodrigo, Marquis de Posa. Especially touching in the final scene when Rodrigo entreats Don Carlo to go on and rule well.



Jennifer Kosharski's strong Mezzo with touches of contralto, acted and sang with steely prowess the role of Princess Eboli. Her 'O don fatale', was greeted with applause.

King Phillip, Bass Alexander Scopino, was touching in his solo of the anguished husband and ruler, who bows to the dictat of the Grand Inquisitor, who was sung with a powerful, rich bass by Erik Kroncke.

 Grand Inquisitor/Kroncke
 by gwenturnerjuarez



King Phillip/Scopino and Elisabetta/ Newton
by gwenturnerjuarez



The Heavenly Voice, heard from on high, was sung by Soprano Traci Davis with soft beauty.

Eboli/Kosharsi and Tebaldo/Ross
by gwenturnerjuarez

The Cameo roles of  Page Tebaldo, A royal herald , Count Lerma and Flemish Deputy/Monk were filled ably by soprano Rachel Ross in the trouser role of boy page, Tenor George Williams, Tenor Scott Travis, and Bass Daymon Passmore, all familiar to OH Audiences.

I did notice that both Newton and Lickteig seemed a bit under the weather.

If that is how they sounded then, they'd be truly stunnung to hear when hale and hearty!

The house was packed, the audience enthusiastic and applauded vigorously.

Soprano Emily Newton getting a standing ovation

.

Five more performances, tonight, 1/29 and  Feb 3,4,5.