THE VIRGINIAN-PILOT
Copyright (c) 1995, Landmark Communications, Inc.
DATE: Sunday, November 19, 1995 TAG: 9511190221
SECTION: LOCAL PAGE: B5 EDITION: FINAL
TYPE: Opera Review
SOURCE: BY PAUL SAYEGH, SPECIAL TO THE VIRGINIAN-PILOT
DATELINE: NORFOLK LENGTH: Medium: 71 lines
Virginia Opera presented Johann Strauss' ``Die Fledermaus'' for the first time in over a decade Friday night at the Harrison Opera House.
Conductor Jerome Shannon, the company's assistant artistic director, and director Lillian Garrett-Groag presided over a delightful performance that was truly an ensemble effort.
``Die Fledermaus'' is a classic that defines the Viennese operetta. In America, it often has been treated as if it were some stray Broadway show and given a very broad style of staging and singing. It's a pleasure to report that Garrett-Groag approached the work with respect and knowledge of its Viennese origins.
The opening minutes of Act 1 promised less, as the cast, perhaps not totally settled into the piece, oversang and overacted. But once the plot was set into motion, things took a turn for the better, as the performers successfully conveyed the mixture of farce and seriousness that is at the heart of the operetta. Act 2, with its masquerades and waltzes all afloat in a sea of champagne, was the high point. Act 3 was a bit of a letdown, but this is Strauss' fault - he was unable to top himself.
Conductor Shannon, once past a loud and brassy overture, achieved wonderful coordination between pit and stage, and chose tempos that allowed the orchestra to play with excellent rhythmic precision.
The vocal standouts were soprano Amy Johnson as Rosalinda and baritone Richard Lewis as Dr. Falke. Johnson sang with an even, rich voice and acted her part with verve and glamour, especially in her disguise as a masked Hungarian countess. Her ``Czardas'' was lovely, its mix of nostalgia and humor transporting the audience to an imagined Hungary.
Baritone Lewis, in his first major role with the company, was commanding, both vocally and dramatically. His powerful voice was used with subtlety, making Falke an enigmatic, fascinating character. One sensed an underlying sadness in the man; the attention he paid Rosalinda betrayed a feeling deeper than friendship for his best friend's wife.
As Eisenstein, Rosalinda's husband, Douglas Webster made his first appearance with Virginia Opera. As in the season-opening ``Rigoletto,'' the leading man was outsung by his colleagues. Webster's voice sounded thin and under-powered.
Perhaps in an effort to compensate, he overacted the ridiculous aspects of the character, making it difficult to believe that Rosalinda might have ever been attracted to this man.
Laureen Vigil sang Adele. She was funny as a chambermaid aspiring to greater glory. Her tone was less bright than usual for an Adele, especially in her upper register, but her vivacious stage presence and good diction made up for this. Carter Scott, a woman, was cast in the ``trouser'' role of Orlovsky, a male character. This is a part that requires a lot of style to overcome Strauss' vocally unrewarding music.
Scott, a young artist in her second Virginia Opera appearance, was able to do this only intermittently.
Eric Dillner, as the vain tenor Alfred, did some lovely singing when not forcing his bright, attractive voice.
Baritone Bill Sinclair was a humorous Frank, and in the acting roles of Ida and Frosch, local performers Carin Cowell and G.F. Rowe were first-rate.
Miguel Romero's sets were graceful, and the company used a new and effective English translation by tenor Quade Winter. The cast's diction was quite good, making a strong case for performing this work in English.
Now, all Virginia Opera needs to do is allow this cast and conductor to perform the work together another 50 to 100 times, and Norfolk will have a truly authentic Viennese ``Die Fledermaus.''
As it is, it comes as close to the real thing as we can probably get in America, outside of the big international houses. by CNB