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Opera Double Bill @ Cleveland Institute of Music 2/25 Opera doesn't necessarily have to make sense in order to be enjoyable. In fact it rarely does, but then, one seldom goes to the opera for that purpose only. One hopes for great music, gorgeous singing, and as a lesser expectation, appropriate costumes and stage settings. The Cleveland Institute of Music Opera Theater gave us a double bill of two one-act operas last week that hit every high spot imaginable, at least in the night I attended. The larger roles in each opera are usually double-cast, so as to provide more opportunities for all the students. This time I saw the opening night casts, and was suitably impressed.

Artistic Director of the program, David Bamberger directed both operas, and Harry Davidson drew luscious sounds from the CIM orchestra. David Brooks created very effective set designs then added complementary lighting, while Esther Haberlen created marvelous costumes, wigs and makeup.

This being the 200th year commemoration of the passing of Franz Joseph Haydn, it’s only fitting that we’re being surrounded by his music. He was very prolific, and produced many large scale works, although not so many operas. The Apothecary is a charming sample of his creativity, although the libretto by Carlo Goldoni leaves a bit to be desired. It’s the old tale of a wealthy older man, in love with his young ward, who is in turn in love with a younger, but non-wealthy (yet) man. In this opera, we have another suitor for her, as well. There is rather much foolishness on all sides, but enchanting, just the same.

Bass Richard Ollarsaba as Sempronio commands the stage every minute he’s on it, which is only fitting as he is the Apothecary, after all. He fusses and fidgets and bemoans his unrequited love, all the while enamored with the concept of travel to foreign spots, all the while unrolling his sonorous bass voice in Haydn’s delightful music. He falls for a spurious offer from the ruler of Turkey, which provides the opportunity for the two younger men, Mengone, sung by tenor Vernon Di Carlo (as guest artist for the production) and mezzo Chelsea Coyne (in a pants role) as Volpino, to dress up in exotic Turkish-type finery. Soprano Tamara Ryan as the ward, Grilletta, was properly charming and beautiful as she fended off Sempronio and Volpino in favor of Mengone. For those two at least, the opera had a happy ending.

From buffa, the evening progressed to verismo, and the unhappy tale of Suor Angelica, written by Giacomo Puccini, with libretto by Giovacchino Forzano. It’s reported that the inspiration for this opera came from one of Puccini’s sisters, who had entered a convent. Whether the story was hers or another of the convent’s inhabitants isn’t clear, but the situation is appropriate for the time it was written – the early 1900s.

Although several of the sisters have small solos, the title role is really the only major one, and soprano Sarah Gardner’s lovely voice easily filled Kulas Hall. She was convincing as she begged for information from her aunt, the Princess of mezzo Lindsey Ann Anderson. Having disgraced her family, Angelica now wants only to see her son again, and if it must be in heaven, so be it. The suicide scene was tastefully staged without being maudlin.

The final production for this season will be a fully-staged and costumed assortment of ‘Scenes’ from various operas, to take place April 17-19. For tickets or other information about this or other CIM concert activities, visit their website: http://www.cim.edu.

From Cool Cleveland contributor Kelly Ferjutz artswriterATroadrunner.com
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