In the attic of an old house, a young woman sings “we’re perfect as we are,” but her companion says, “things change, Jo.” These two phrases repeat over and over throughout Mark Adamo’s Little Women, the opening production of Lyric Opera Cleveland’s 31st season. Things do indeed change, but this production is virtually perfect as it is.

The cast for this production could hardly be improved upon; mezzo-soprano Jennifer Rivera IS Jo, the passionate center about whom the opera swirls. Oldest of the four March daughters—the others being Meg, Beth and Amy—she wants always for things to stay as they were and are. That can’t be, as she learns, but one may always carry the love that holds the family together, amidst the changes that will inevitably happen. As in the book, though, practical Meg (soprano Katherine Pracht) marries the rather distant John Brooke (baritone Stephen Hartley) and inquisitive Amy (soprano Ashleigh Rabbitt) goes off to Europe to study art as well as the exuberant boy-next-door, Laurie (tenor Steven Mello). Eventually, these two will marry, while the quieter Beth (soprano Christina Bouras) succumbs to scarlet fever.

Although there is a wonderful supporting cast, it is these six young singers who are the heart of the opera. Whether singing a solo, duo, quartet or other ensemble grouping, the voices blend silkily, and is it also an advantage to have them all look the part they portray. When Jo meets Professor Bhaer in the second act, (bass-baritone Kurt Ollman) he, too, is exquisitely believable in his role as the slightly older man. As he sang Mr. Adamo’s lied with words by Goethe, Kennst du das Land, he very nearly stopped the show with his gorgeous interpretation. Soprano Anne Marie Lucas was ‘Marmee’ or Alma March, and her husband, father Gideon (as well as publisher Mr. Dashwood) was sung by bass-baritone Scott Guinn. Mezzo Lorraine Manz played the busy-bodyish Aunt Cecilia March with gusto. The quartet of female voices was provided by members of the Artist Apprentice Program, a highly-regarded component of Lyric Opera Cleveland.

The various settings of the opera are stunningly depicted by abstract bits of scenery, scrims and evocative lighting, masterminded by Michael Grube (set design) and Jeremy Benjamin (lighting design). Costumes by S. Q. Campbell are exactly right for the period, as well as the ages of those who wear them. Overall, however, an opera lives or dies by its music. Little Women by Mark Adamo, who was in his middle 30s when he began the piece, is a formidable addition to the opera catalog. There is no reason why it shouldn’t attain the same popularity and longevity as the book from which it was taken.
from Cool Cleveland contributor Kelly Ferjutz Kellytwo@core.com (:divend:)