Opera Maine: A Roméo to Remember

This past year I've been spending a lot of time with Romeo and Juliet - and Roméo et Juliette. and Romeo e Giulietta. Of all of the treatments of this tale, including Shakespeare's - my favorite is, easily, Gounod's five act opera.  I was thrilled to be able to attend Opera Maine's knockout of a production. 

Artistic Director, Dona D. Vaughn found a combination of old and new which provided an original, refreshing and eye-opening spin on tradition and just how potent a good story well told can be. The set was a simple affair – a mostly bare stage with a tall central wooden tower flanked by a pair of wide steps (and later two more structures that would attach to the tower). Scenic changes were accomplished by projections onto the rear stage wall that changed not only from scene-to-scene, but during them. At the start an enormous stained-glass wall quickly established the tone of the severity and tragedy pf the tale, before giving way to the elegance and light of the party scene.

Projections are, of course, not new in theatre, and frequently the use of brilliant photography makes them feel more cinematic - more real world. Such was not the case here. The projections were of paintings, rustic, earthy tones and buildings, ballroom interiors - keeping us out of the realm of reality, and pulling us into a sense of being in another time and place. It felt like a nod to opera's glorious past when heavily detailed painted flats sprang to life before our eyes – but even better and more so here. These projections also used animation - so when we saw stars, they were actually twinkling in the deep night sky, we’d see turtle doves flying across, as Stephano chased and sang about them, and we were treated to a shooting star sailing through space as the audience reveled along with Roméo's ecstasy following Ah! lève-toi, soleil! There were touches like this all evening long and they were simply glorious.

With a nod towards anime, both visually and in movement, there were details that made the action pop. The costumes - vivid - splendid and rich looking.  And the hair: fascinating hair designs in various blues, greens, auburns and silvers - twists and spikes - including Tybalt's Silver the Hedgehog with all those spikes. Lord Capulet had a stand-up bun going on making him even taller, and Mercutio's Samurai ponytail flew about dangerously like a whip. There was a lot of movement – including a short ballet with dancers doubling Romeo and Juliet at the opera’s start.  All of it felt like we were getting a thousand years of theatrical history playing brilliantly and seamlessly right before our eyes.

Cast from strength throughout this Roméo scored in every aspect of Gounod's lyric drama musically and dramatically - everyone perfectly matched to their role. 

Christopher Job sounded authoritative and appropriately regal, presenting a  sympathetic Count which seemed to bond him closer to his daughter, and rather a nice change from the frequently imperious father we often encounter in this opera

The naturally sympathetic Gertrude was Michelle Blauman, her rich, plummy mezzo capturing the Nurse's love and concern for her charge. 

Maxwell Levy's spikey-haired Tybalt began a bit tentatively in sound, but quickly matched the intensity infused this hothead with - one could initially admire his familial loyalty, then angered at  his instigation of the tragedy, and Levy, quick with sword and temper, played this off with a beautiful cruelty. 

Ricardo Lugo's Frère Laurent and Tyler Putnam's Duke each deeply  resonant felt and sounded exactly as one wants in these smaller, but pivotal roles. Likewise, in the crucial role of Pâris, Daniel Illig was able to make his brief moments memorable, his shock at his intended bride's "death," moving. Gounod was not kind to Benvolio, yet Jared Vigue helped make the moments opening party scene feel exactly right. Similarly, as Gregorio, Micah Schroeder got the ball rolling in his tussle with Stephano that led to the tragedy spinning out of control in one of opera's best street scenes. 

As Stephano, mezzo Winona Martin - as spunky as her electric blue hair, was a delight sailing through ""Depuis hier... Que fais-tu" offering nice trills and that quick High C near the end. A highlight of the night for certain.

When a voice stands out In a cast this strong, you sit up and notice, and that's precisely what happened when our Mercutio - baritone Laureano Quant opened his mouth. He already looked terrific and moved like an athlete, but the beauty of sound, the resonance and acting with the voice made his Queen Mab aria one of those moments where I told myself, "follow this guy's career."  Quant also proved to be an excellent swordsman, though of course that didn't change the story. Definitely someone to watch.

Mercutio's pal, Roméo  had a voice that did the same  (what is it they're feeding those Montagues?) and tenor Kameron Lopreore had my jaw dropping a number of times throughout the night. Physically,  he's big - not of the Alfredo Kraus or Roberto Alagna sized Roméos -more football than tennis player, and the voice matched: big, healthy, resonant with that tenorial "ping" of the old days. At times I wished he'd have brought a touch more nuance in softer passages (when you start loud, you can only get louder) but the voice is of such beauty and youthful sound, you just smile and glad to be in its presence. While excellent throughout, his “Ah! lève-toi, soleil!" literally stopped the show, and then one of my favorite scenes in all opera the ending of the third act as Roméo is banished was simultaneously heartbreaking and thrilling. Another career I'm going to be keeping my eye on. 

Soprano Denis Vélez, looked every inch the perfect Juliette, and dispatched her first arias with aplomb, if a little wildness - but that is not at all inappropriate to this character. Yet, as the evening wore on, I was unprepared for the increase of intensity in her sound, the size of the voice growing to match her Roméo. The shaping of her phrases increasing to a nearly heart-stopping beauty, and the Potion Aria (which remarkably used to be a standard cut for about a century) brought home the tragedy before the final scene. Indeed, this one of the most emotional moments in an opera absolutely filled with them. 

Virgil Bozeman's chorus was one of - and perhaps the best - I've heard in 30 years from this company. Their French sounded just right, they moved - and danced - with a fluidity that matched every other element of this marvelous production.

Keeping it all together was conductor Israel Gursky. Maestro Gursky has a special way with this company, and while we don't get a lot of French opera, everything about his leadership in this oh-so-French score sounded absolutely right and perfect. His attention to phrasing and dynamics propelled without force, but swelling on the grand tragic motifs in a manner that quite frankly took my breath away. We definitely need more French opera from you, Maestro. 

The final scene in the tomb was a departure from what has become more the norm - as the lovers embrace each other in death. Here, Vaughn doubled up the "sad" with Juliette on her funeral slab reaching out to Roméo who was pulling himself across the floor towards her before her delicate hand dropped in death. Maestro Gursky beautifully milked those final bars as Roméo inched his way towards his bride, but likewise - expiring before reaching her. I could hear others around me gasping lightly and yes, my eyes were wet. 

Bravo a tutti to Opera Maine for a spectacular evening of one of the world's great romantic tragedies. 

Opera Maine's Sweeney Todd: A Cut Above

For its 30th anniversary, Opera Maine broke new ground with a theatrically compelling, musically excellent production of Sondheim's Sweeney Todd. Guided by Artistic Director, Dona D. Vaughn, a superb cast moved thrillingly across the original 1980 tour sets (created for Angela Lansbury and George Hearn) offering cinematic sweep and operatic force. The audience responded throughout with audible gasps, laughter and long ovations punctuated by cheers. 

Commanding in voice and presence, Michael Mayes' Sweeney went from quiet brooding to malevolent rage with turn-on-a-dime precision. His revenge-obsessed barber reached fever pitch in a chilling Epiphany that stopped the show. As his partner-in-crime, Mela Sarajane Dailey's beautifully sung Mrs. Lovett, balanced Sweeney's darkness with impeccable comic timing, in a performance far more delicious than her legendary pies. 

As the Beggar Woman, Megan Marino drew uncomfortable laughter while simultaneously breaking our hearts. Todd's concluding explosion of grief was among the most wrenching I've seen. It was no surprise to learn Marino and Mayes are married in real life, adding a palpable frisson as he threw himself across her ragged, lifeless body.

Portraying the young lovers was yet another married couple; Michael Adams and Mary Feminear. They were a delight. Feminear easily sailed through Johanna's highflying music, while Adams' plush baritone added a welcome richness to Anthony, his big number, Johanna, bringing down the house. 

Oozing equal amounts of pomposity and sleaze, David Pittsinger and Nicholas Nestorak were perfectly despicable as Judge Turpin and Beadle Bamford, and made the quartet with Anthony and Johanna a highlight. 

As Adolfo Pirelli, Maxwell Levy was clearly having a grand time, hamming up every moment as the elixir selling faux Italian barber, with comically endless high notes adding to the fun.

David Marino’s touching voice and presence won all hearts as the simple Toby, his duet with Mrs. Lovet, Not While I'm Around, easily the most touching moment of the show. 

Sweeney, for me, recalls Britten's Peter Grimes - each relying heavily on its chorus to provide not only suitably grim Victorian atmosphere, but to move their stories forward. Opera Maine's Chorus delivered spectacularly, with two notable stand outs:  God, That's Good, where tricky rhythms and amusing word play garnered laughs, then, in City on Fire setting up the brutal, final sequence. Few directors move people across a stage as convincingly as Vaughn, and in Sweeney we were treated to some of the finest work in her thirty years of leading this company.

Conducting with precision and elan, Israel Gursky brought Sweeney's assorted motifs and themes to life, creating an atmospheric soundscape that perfectly matched what we saw onstage.  His broader tempo for My Friends evoked Debussy, adding even more layers to Sondheim's sophisticated score. I can't recall it more beautifully sung or played.

James Kennerley’s playing of the show’s ominous organ music on the mighty Kotzschmar, was an unexpected treat, and a deafening roar went up from the house as the backdrop of London lifted revealing organ and organist. No one seemed to want to leave. I certainly didn't.

(Photos from Opera Maine)