![]() ![]() Only the over-amplification of the offstage chorus in the final act sullied the effect. Even at its loudest, their sound was focused and true, their diction among the evening's most impeccable. The men, accorded far more appropriate direction, made convincing sailors, and both acted and sang with precision and discipline. ![]() Although the women looked distracted fussing with sails instead of spinning, as both the music and the words specify, they sang like angels. The most consistently satisfying vocal performances came from Ian Robertson's Opera Chorus, in vigorous voice and fine dramatic form Tuesday. Raymond Very's handsomely voiced Steersman, and Josepha Gayer's sweetly sung, maiden aunt Mary faded quickly. The Swedish tenor, who has sung only Mozart roles here, handed in what was safely the evening's most solid, insightful and ultimately believable performance.įranz Hawlata indulged some smudged pitches, lax rhythms and buffo mannerisms in his vigorously voiced Daland, but at least he was memorable. If Senta had used sheerly vocal standards to decide the man for her, she would have stuck with Gosta Windbergh's Erik. Her third-act entrance, the spitting image of La Sonnambula, and her Elsa-like drop-to-the-floor death scene warrant restaging. It didn't help that she frequently looked velcroed to the set in the direction of Steven Taylor, also making his American opera debut in what was probably a faithful recreation of the Geneva production.
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