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Health & Fitness

Another Rousing Opera Success at Cinnabar Theater!

There are few operas in the standard literature that can equal Mozart’s “The Marriage of Figaro”.  So often is this perfect piece of theater so sloppily put together that when one sees a coherent and professionally performed version, one wonders why it can’t always be this way.  Such is the case with this latest offering from Cinnabar Theater.  Elly Lichenstein and the theater’s production staff have once again brought gorgeous, professional opera theatre to the North Bay with “The Marriage of Figaro”.   

 

The length of this opera is perhaps the only daunting aspect of the piece, but as any lover of Mozart can tell you, hearing Mozart performed well only leads to one wanting to hear Mozart performed even more.  The original opera is at least four hours long with intermissions in between each of the four acts, and Cinnabar’s reduction to two acts with short transitions between acts I and II, and then acts III and IV, is wise to say the least.  That being said, I think I could easily have listened to this production with all four acts intact.  It flowed smoothly, and I listened so intently as to not want it to end, even if it had been its full original length.  My only musical distraction was the insertion of prerecorded music from the 1920’s to cover the scene transitions.  I would frankly have preferred to sit in silence while the changes occurred so as not to disturb the flow of the master.    

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Opera on this scale can sometimes create compromise between acting and singing, and I’m delighted to say that I felt that both camps were equally addressed in Cinnabar’s production.  There are sometimes, however, true stars who shine above the others in this respect, and I want to particularly commend Kelly Britt and Eugene Walden as, respectively, Susanna and Figaro as those outstanding singers who were truly exemplary actors as well.  This is certainly not to say that other characters in this great ensemble piece weren’t extremely capable, but Kelly and Eugene were truly at the top, and this production is worth seeing, and hearing, just to see and hear them.  Very strong musical and acting performances were delivered by Christiaan Smith-Kotlarek as Count Almaviva, Bharati Soman as Countess Rosina, Cary Ann Rosko as Cherubino, and a very comic trio of Bill Neely as Don Bartolo, Krista Wigle as Marcellina, and Miguel Evangelista as Don Basilio and Don Curzio.  James Pfeiffer played the drunken gardener (drunk and in character even in his scene changes), and Maayan Voss De Bettancourt as the naïve Barbarina.  Dianna Richardson played the Flower Girl. 

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Mozart’s orchestral score is truly a masterpiece, from the very beginning of the overture to the end of Act IV.  I heartily applaud Mary Chun for her musical direction, but it was clear from the beginning that the composer had intentions for much more support and texture to the stage, something which is limited by a reduced orchestration.  I realize that there are space constraints at Cinnabar, and budgetary constraints for hiring additional players, but I believe the professional stage, in which not a single character is cut, deserves to be supported by an instrumental ensemble which is equally original in its orchestration.  To do so would inspire the entire cast and elevate this entire production to an even higher professional standard, one which would be envied by every small opera company in existence. 

 

Thanks, too, to others on the creative team for “Marriage of Figaro”.  Choreographer Joseph Favolora gave an uncomplicated but effective take on the movement in this opera; Wayne Hovey’s scene design was special and elegant, and Lisa Eldredge’s costumes were reflective of the 1920’s setting of this opera.  Lighting design was by Krista Smith, and Sharlyn Klein was the Production Manager. 

 

One final and very positive note: I saw a number of young students attending Marriage of Figaro on Friday night, and although this production is in English and not in its original language of Italian (which I missed), it was heartening to see these young people enjoy and react to a very classic piece of opera literature! The fact that the performance was in English may have added to their enjoyment of the opera.

 

Do see “The Marriage of Figaro” as soon as you can.  It’s a timeless piece and a splendid production masterfully directed by Elly Lichenstein.  Performances continue through June 15, 2014.  Ticket information can be obtained at 707-763-8920 or at www.cinnabartheater.org

 

 




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