The Well-Tempered Ear
Classical music: Madison Opera gives completely satisfying and nearly perfect performances of “Cavalleria Rusticana” and “Pagliacci.” Here are four reviews
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By Jacob Stockinger
Larry Wells – who is The Opera Guy for The Well-Tempered Ear blog – went to the recent production of the Madison Opera and filed this review, with performance photos by James Gill:
By Larry Wells
I attended performances of Pietro Mascagni’s “Cavalleria Rusticana” and Ruggero Leoncavallo’s “Pagliacci” presented by the Madison Opera at Overture Hall last Sunday afternoon.
Each of the operas is an hour and a quarter long. At least for “Cavalleria” (below), the time flew by while I was captivated by the good singing, excellent playing and charming staging. The opera is tightly constructed and the production flowed effortlessly to its dramatic conclusion.
The feckless mama’s boy Turridu was ably portrayed by tenor Scott Piper (below top) who sang beautifully throughout. His nemesis, Alfio, was sung by baritone Michael Mayes (below bottom). Mayes has an excellent voice and terrific musicianship, but he tended to overact.
The star of the show was soprano Michelle Johnson (below) as Santuzza. Her big aria “Voi lo sapete” and her duets with Piper were rapturously dramatic. Her supple and nuanced performance had me uncharacteristically leaping to my feet and shouting “Brava!” as she took her curtain call. Hers is a voice I hope to hear again soon.
The Madison Symphony Orchestra shone throughout the performance, ably led by guest conductor Joseph Mechavich (below). I cannot recall hearing before such subtle control of its orchestral voices, and the ensemble glimmered in the well-known intermezzo. (You can hear that famous and beautiful Intermezzo, used in the film “The Godfather” and conducted by Gustavo Dudamel, in the YouTube video at the bottom.)
The set and costumes, the bravura singing by the chorus, and the lighting were all above expectations. It was a completely satisfying experience.
“Pagliacci” is a more troublesome work for me. It has moments of lyrical genius but also what to me seems like filler – the chorus going on too long about getting to vespers, for example.
Mayes (below) portrayed the villainous Tonio in this opera. Although his prologue was beautifully sung, his creepy overacting was a bit too much. For example, when Nedda spat at him in contempt, he wiped the spittle from his face and then licked his hand. His final utterance “La commedia e finita” was overly dramatic and lacking irony.
Piper sang the clown Canio (below), and by the time he got to the showpiece aria “Vesti la giubba” I was nervous that he would not be able to hit all the high notes. He did hit the notes, but it will take a couple more years for this role to fit his voice comfortably.
Nedda was portrayed by sensational Talise Trevigne (below bottom). Her big aria “Stridono lassù” was sung beautifully, and the orchestra shimmered in its accompaniment. Her duet with her lover Silvio, ably sung by baritone Benjamin Taylor (below top), was another highlight of the production.
Once again, the orchestral interlude was beautifully played.
Altogether, this was almost a perfect afternoon at Madison Opera. There appeared to be a gratifyingly large number of younger people attending, which I took as a good sign for the future. (Below is the tragic final scene of “Pagliacci” with Robert Goodrich, Michael Mayes and Scott Piper.)
I look forward to the next production: Stephen Sondheim’s “A Little Night Music” on Feb. 8 and 10. I saw it recently at Des Moines Metropolitan Opera, so I am interested to see how it will compare.
When all is said and done, I enjoyed “Pagliacci” but feel it is inferior to “Cavalleria.” Although both operas are frequently performed together, I have attended other pairings for “Cavalleria” including one with Puccini’s comic short opera “Gianni Schicchi.” That combination worked well. I wonder: Do readers have other suggestions for pairings?
Editor’s note: Everyone has an opinion. How did you and other critics find the Madison Opera productions? Leave your opinion in the COMMENTS section. And here are links to some other reviews:
Here is the review John W. Barker wrote for Isthmus: https://isthmus.com/music/satisfying-double-bill/
Here is the review, with a historical bent, that Greg Hettmansberger wrote for his blog “What Greg Says”: https://whatgregsays.wordpress.com/2018/11/06/madison-opera-goes-old-school/
And here is what Lindsay Christians wrote for The Capital Times newspaper: https://madison.com/ct/entertainment/arts_and_theatre/theatre/love-revenge-passion-violence-open-the-season-at-madison-opera/article_1c27e195-cc2f-5826-9502-00544b88fae6.html
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Classical music: UW-Madison opera students are on display at a concert this Sunday afternoon along with guest professional and UW opera graduate Lindsay Metzger
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By Jacob Stockinger
The Ear has received the following announcement from UW Opera Props, the support organization for University Opera at the University of Wisconsin-Madison School of Music.
We invite you to attend a benefit concert showcasing the University of Wisconsin-Madison opera program’s talented students, along with special guest artist, distinguished alumna and mezzo-soprano, Lindsay Metzger (below top) who will be accompanied by pianist Daniel Fung (below bottom).
Please join us for a program of songs and arias, followed by a reception. Enjoy conversation with the singers, faculty and other musical friends, along with light refreshments including artisanal cheeses, fruit, wine, juices and chocolatier Gail Ambrosius’s delicious creations.
The concert is this Sunday, Sept. 18, at 3 p.m. followed by light refreshments and conversation. Sorry, no word about the composers or works to be sung.
The concert will take place in the Landmark Auditorium at the Frank Lloyd Wright-designed First Unitarian Society of Madison Meeting House, 900 University Bay Drive, Madison
Admission is a contribution of $25 in advance ($30 at the door), and $10 for students. All proceeds go to UW Opera student scholarships.
For more information, visit:
https://www.facebook.com/events/1838139499750385
http://www.uwoperaprops.org/uw-opera-props-student-showcase-concert/
Lindsay Metzger (below) hails from Mundelein, Illinois. She spent two summers as an apprentice artist with Des Moines Metro Opera and was a studio artist in 2014-15 with Milwaukee’s Florentine Opera (Gannett in Donizetti’s L’elisir d’amore).
Among her other recent portrayals have been Daphne/Marc-Antoine Charpentier’s La descente d’Orphée aux enfers (Chicago’s Haymarket Opera Company), Cherubino in Mozart’s Le nozze di Figaro (La Musica Lirica in Novafeltria, Italy), Nella in Puccini’s Gianni Schicchi (DuPage Opera Theatre), the title role in Handel’s Ariodante, Béatrice in Berlioz’ Béatrice et Bénédict, and Beppe in Mascagni’s L’amico Fritz (all at the University of Wisconsin-Madison).
With Lyric Unlimited’s community-engagement program “Opera in the Neighborhoods,” Metzger was heard in the title role in Rossini’s La Cenerentola.
A soloist featured frequently in numerous Chicago-area venues, Metzger debuted with the Grant Park Symphony singing the soprano solo in Gabriel Fauré’s Requiem.
She was awarded the Paul Collins Fellowship from University of Wisconsin-Madison, the Virginia Cooper Meier Award from the Musicians’ Club of Women, and an Encouragement Award from the Metropolitan Opera National Council District Auditions.
Metzger is an alumna of the University of Wisconsin-Madison and DePaul University. Last season at Lyric she was featured in Mozart’s Le nozze di Figaro (debut) and Richard Strauss’ Der Rosenkavalier. In the 2016-17 season the mezzo-soprano will perform in Massenet’s Don Quichotte and Bizet’s Carmen.
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