THE VIRGINIAN-PILOT
Copyright (c) 1995, Landmark Communications, Inc.
DATE: Sunday, October 8, 1995 TAG: 9510080041
SECTION: LOCAL PAGE: B3 EDITION: FINAL
TYPE: Music review
SOURCE: BY PAUL SAYEGH, SPECIAL TO THE VIRGINIAN-PILOT
DATELINE: NORFOLK LENGTH: Medium: 76 lines
Opera first nights are traditionally glittery events with the audience often competing with the performers for attention.
On Friday, as the Virginia Opera opened its 1995-96 season with a performance of Giuseppe Verdi's Rigoletto at the Harrison Opera House, it was no contest. The Verdi favorite showed the company near its very best.
The star of the evening arguably was Korean soprano Sujung Kim, who made a stunning American stage debut as Gilda, Rigoletto's innocent and tragic daughter. From her first entrance to her touching death scene, Kim gave an entrancing performance. Her voice had a silvery, focused sound that allowed it to carry easily over the orchestra. Her tone never lost its radiant quality, even during the most dramatic moments of the score. The soprano's stage presence was equally impressive, as she portrayed Gilda's journey from first love to tragic sacrifice in a wholly convincing manner.
There was also the pleasure of seeing a singer who knew her moment had arrived and who clearly radiated the joy of performing back to the audience. The audience in turn awarded her a standing ovation at the evening's end.
Metropolitan Opera baritone Vernon Hartman made his company debut as Rigoletto. His characterization of the jester was effective, particularly in his depiction of the rage and violence lurking just beneath the surface of this pathetic man. Hartman's lyric baritone was challenged by the more dramatic outbursts of the opera, for which his voice seemed slightly small, yet he minimized this through the skill of his acting. He was at his best in the duets with Gilda, where his sound had a most attractive and melting quality.
William Livingston also made his first local appearance as the Duke of Mantua. One of Verdi's most grateful roles for tenor, the Duke is also one of the most challenging. He must be elegant and carefree, while also dangerous, heartless, and cruel. Livingston managed the callow, insensitive side of the character well. There was little charm though, and his singing was anything but carefree, as he pushed his fine voice to try and obtain a bigger sound. The many turns and decorative figures of his role were roughly executed.
In smaller roles, there were impressive debuts by Brian Jauhiainen as the assassin Sparafucile, and Carter Scott as his voluptuous sister Maddalena. Jauhiainen has a rich, deep bass that was well-suited to this sinister character. Mezzo-soprano Scott was at her best during the storm scene, as she pleaded for the Duke's life; earlier, she had to compete with an attention-grabbing costume. Tenor Eric Dillner was good enough as Borsa to make one wish his part were bigger.
The production, new to Virginia Opera, was designed by R. Keith Brumley for Des Moines Metro Opera. The handsome unit set allowed for quick changes and helped move the action closer to the audience. The sumptuous Renaissance costumes, originally for the Dallas Opera, were by Peter J. Hall.
Albert Takazauckas directed a refreshingly traditional production set in Renaissance Italy just as Verdi specified. This was not a Rigoletto filled with a director's ``concepts,'' but a straightforward rendering of the opera that allowed the singers to connect with Verdi's characters as he envisioned them. Despite some minor miscalculations, especially in the comings and goings in front of Rigoletto's house during Act One, the director succeeded very well in conveying the cruelty, violence and tragedy of the story.
Once past a prelude too slow to sustain momentum, Peter Mark conducted a dramatic performance that never sagged. Tempos were well-chosen and maintained, and only on rare occasions did he allow the orchestra to cover the singers. The Virginia Opera Orchestra played well throughout the evening, turning in one of its most secure performances. ILLUSTRATION: Photo
KATHY KEENEY
The star of the evening arguably was Korean soprano Sujung Kim, who
made a stunning American stage debut as Gilda, Rigoletto's innocent
and tragic daughter. Rigoletto is played by Vernon Hartman, a
Metropolitan Opera baritone who was making his debut with the
Virginia Opera.
by CNB