Ziniu Zhao, Emily Treigle, Sophia Maekawa, and Angela Yam. Photograph: Wealthy Kessler
The best praise I can provide to Wolf Entice Opera’s manufacturing of La Cenerentola is that everybody gave the impression to be having enjoyable. The night, opening evening for the present’s run, which concludes on June 27, fizzed with unselfconscious silliness and, at instances, really exceptional bel canto virtuosity. “You may inform that these folks had been the cool theater children,” my companion stated of the performers. Like watching a scrappy faculty soccer sport, there was a tough high quality, too, which solely made the proceedings extra compelling. Someplace, Rossini is toasting this group —and for good purpose.
We started with a staged overture. Usually I believe this dilutes the facility of the music, which is, in itself, a robust sonic primer. But on this manufacturing, it labored. The prince and his valets stroll on stage and carry out the id swap in entrance of the viewers; afterwards, the “curtain” (right here, a sliding door) rolls apart to disclose a messy den populated with spoiled wealthy ladies studying magazines. The director, Joel Ivany, additionally correctly introduces Don Magnifico’s character (the daddy of Cinderella and the 2 evil stepsisters) as an outdated, drunken wastrel – he clomps down the steps, sells a portray, swigs from a bottle.
The opera correct begins with a melancholy daydream from Cinderella (whose precise identify is Angelina), sung with dusky soulfulness by the mezzo-soprano Sophia Maekawa. Angelina is taunted by her sisters, Clorinda (Angela Yam) and Tisbe (Emily Treigle). Each sisters had been comedic revelations, wrapped in probably the most scrumptious camp, particularly Yam, who performs the older sister with a tart, over-the-top narcissism, and has a lightweight, clear soprano as well. The remainder of the story is acquainted to us: Don Ramiro, the prince, disguises himself as his valet, whereas urgent the poor driver into his service to discern the true nature of the sisters. Maekawa deserves plaudits, too, for her performing. When that melancholy tune comes again within the remaining act, this time she luxuriates within the melody, wine glass in hand, content material within the data that she had gained.
It was round this time that I heard maybe probably the most spectacular particular person efficiency of the 12 months. Whereas Maekawa was probably the most constant singer of the night, probably the most spectacular was Angel Raii Gomez, taking part in Don Ramiro, who shocked with a sustained, breathtaking excessive F in “Sì, ritrovarla io giuro”, which, within the phrases of one other considered one of my companions, made his “balls go up into [his] abdomen.” My coronary heart, a minimum of, was in my throat. Of their Act I duet, “Un soave non so che,” wherein Don Ramiro and Angelina fall in love at first sight, Gomez and Maekawa nailed each be aware and arpeggio with nearly mechanical precision. Such was their vocal chemistry, I discovered myself wanting a separate recital, a la Lawrence Brownlee and Erin Morely’s current Golden Age collaboration.
Angel Raii Gomez and Members of the Wolf Entice Opera Studio, Photograph: Wealthy Kessler
The basso cantante contingent distinguished themselves primarily for his or her comedic chops. Ziniu Zhao, taking part in Don Magnifico, confirmed himself to be a grasp of Rossinian patter, pulling off the verbal-vocal acrobatics of “Sia qualunque delle figlie” whereas waving a wine bottle and chasing the valets across the stage. Alidoro, the fairy godmother-type determine, performed by Cumhur Görgün, was sufficiently mischievous in a curiously restrained, dignified manner all through the evening, drawing laughs as he bent the limbs of the frozen singers within the Act II sextet. Korin Thomas-Smith, taking part in the driving force Dandini, had a extra muscular voice, even when he didn’t fairly pull off Mr. Zhao’s rapid-fire pyrotechnics. His performing, nonetheless, was maybe probably the most refined of all of the male roles, striding with self-contained ease throughout the stage because the fatefully elevated valet. He was in a position to attract laughs with popping eyeballs, arched brows, exaggerated exasperation, and comedian seduction.
All this froth was complemented by the human scale of the house. Scattered laughter in an enormous theater can generally really feel pathetic. The Barns at Wolf Entice is, because the identify suggests, a restored 18th-century barn, and—at simply 382 seats—not an enormous one. Nestled within the woods of Wolf Entice Nationwide Park, the venue’s wood-paneled, low-lit inside glows with cozy familiarity. Examine this to the Metropolitan Opera, for instance, whose cavernous environs can really feel distant, chilly, nearly sepulchral. That was by no means an issue right here. Laughter ripped via the modest crowd like wildfire – a reminder that this repertoire was constructed for a spot just like the Barns. Equally, the orchestra, led with lapidary sheen by maestro Louis Lohraseb, fed the farce with rumbling, chirping panache, falling down solely often the place the singers may have used higher pacing. In Angelina’s remaining aria, “Non più mesta”, for instance, I wanted that Mr. Lohreb would give Maekawa an opportunity to maintain up. The soprano, for her half, drilled the coloratura runs with confidence, demonstrating wholesome agility within the voice.
Sophia Maekawa. Photograph: Wealthy Kessler
Like operatic smelling salts, Wolf Entice’s manufacturing will wake you as much as the comedic prospects of the shape. And, in some way, there are nonetheless tickets remaining within the run. Given the magic taking place within the woods of northern Virginia, that shouldn’t final for lengthy.
La Cenerentola’s run continues via June 27.
Brendan Latimer
Brendan Latimer is a author and concrete planner primarily based in Baltimore, MD. He invented the darkish chocolate with orange juice combo. You’ll find him on Instagram at @b_lat_ and @operanoises.
