LA TRAVIATA – REVIEW OF ROYAL OPERA HOUSE PRODUCTION

By James Karas

Richard Eyre’s production of La Traviata at the Royal Opera House, Covent Garden has proven its staying power by being revived fourteen times since its first performance in 1994. Judging by the pact houses of the current performances managed by Revival Director Andrew Sinclair the ROH may be in no rush to replace it.

The revivals are performed by different casts, of course, and a large array of sopranos, tenors and baritones have taken up the major roles. The current cast is headed by Canadian-Lebanese soprano Joyce El-Khoury who gives a stunning performance. (Torontonians saw her as Mimi in La Bohème in 2013 and as Violetta in La Traviata in 2015). She has an exceptionally beautiful voice that can express deep emotion and move the audience to tears. She did superb work throughout the evening but her last scene where she realizes that she is dying and sings “Addio, del passato” she brings the house down. One may add that being beautiful does not hurt her portrayal.

Sergey Romanovsky and Joyce El-Khoury in La Traviata. Photo: ROH / Tristram Kenton

Russian tenor Sergey Romanovsky makes his Royal Opera debut as Alfredo Germont who goes from ardent lover to jerk but repents his misconduct and Violetta dies in his arms. He has a supple and mellifluous voice and sings with ease and total assurance. He makes it sound as if it takes no effort to sing the role. It is and he does commendable work.

Alfredo’s father Giorgio Germont gets two unforgettable arias,"Pura siccome un angelo” and “Di Provenza il mar, il suol.” Sandwiched between them is his scene with Violetta where he has to convince the deeply in love woman to give up Alfredo and her happiness. He needs to be moving, convincing without becoming maudlin or tyrannical. Verdi provides the music and Polish baritone Artur Rucinski sings with melodic resonance and conviction. Rucinski first sang the role at the Royal Opera House in 2014 and he seems to have made it his own.

Joyce El Khoury and Artur Rucinski in La Traviata. Photo: Tristram Kenton

Designer Bob Crowley provides dramatic and opulent sets for the salons in Violetta’s and Flora’s houses respectively. Violetta’s salon features a large room with a circular sofa with a dramatic dome. This is living (and stage décor) on a grand scale. Flora’s pad is shock of red velvet where some Spanish dancers entertain the men who gamble in a casino atmosphere. The set in the country house represents the bankrupt state of Violetta’s and Alfredo’s accommodation with bare walls and pictures on the floor ready for the pawn shop.

Daniele Rustioni conducted the Orchestra of the Royal Opera House and the Royal Opera Chorus in this traditional but classic approach to this most popular of operas.

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La Traviata by Giuseppe Verdi, directed by Richard Eyre, will return to the Royal Opera House for its summer season for eight performances from June 14 to July 4, 2017. www.roh.org.uk

THE MAGIC FLUTE – REVIEW OF CANADIAN OPERA COMPANY PRODUCTION

Reviewed by James Karas

For its winter season, the Canadian Opera Company has revived its 2011 production of The Magic Flute. What is the most interesting and most impressive thing about the production? You will never guess it but it is this: it is an all-Canadian production. Okay, there are a few “visitors” but the fact that the COC can produce an opera with mostly Canadian talent is worthy of applause and a positive omen for operaphiles.

Director Diane Paulus has an interesting approach to the opera. (She comes from that great neighbour, business partner and marvelous ally, the United States – we have to say that these days). She imagines the first act of the opera as a play-within-a-play. There is a small stage in a place with lots of people milling around. It could be the interior of a stately house but with so much people traffic it could be even outside.

 Owen McCausland as Tamino and Kirsten MacKinnon as Pamina in 
The Magic Flute, 2017, Photo: Michael Cooper

In any event, there are some very colorfully dressed people (the chorus) and a young man appears pursued by a monster - a white pretend-reptile. He is, of course, Prince Tamino (tenor Owen McCausland) who is rescued by Three Ladies and meets the bird catcher Papageno (baritone Phillip Addis). Tamino is shown a picture of Pamina (soprano Kirsten MacKinnon), falls in love with her and we are off to the races or at least to her father Sarastro’s (bass Matt Boehler) palace.        

The smaller playing area of the play-within-a-play gives way to more monumental sets, statues of guard lions, colour effects, magical scenes and wrought iron gates and high hedges with an impressive structure in the back. Moveable hedges are used in different configurations for scene changes as Tamino and Papageno go through arduous trials in order to become worthy to join the brotherhood of The Temple of Wisdom.

The Magic Flute calls for numerous scene changes from the Palace of Wisdom to gardens, to mountains, to groves which can mostly be hinted at but the set by Myung Hee Cho works quite well with judicious use of lighting, the hedges and other paraphernalia.

 Phillip Addis as Papageno (far left), Michael Colvin as Monostatos (centre) and 

Kirsten MacKinnon as Pamina. Photo: Michael Cooper

The singing by mostly members from the COC Ensemble Studio is commendable if somewhat uneven. McCausland showed vocal agility and beauty as Tamino. He does not have a big voice but he was a delight to watch. Kirsten MacKinnon sang a sympathetic and sweet Pamina.

Bass Matt Boehler has the rumbling low notes to make a fine Sarastro but he was not at his best in “O Isis und Osiris” one of the role’s main arias. The orchestra threatened to overwhelm him and he just managed to keep up with it. He did much better with “In diesen heil’gen Hallen” where he plunges into the low notes and maintains control of the melody. Splendid.

Baritone Phillip Addis does well as the comic Papageno but he has to put up with delayed reaction as we read the surtitles to get the joke. How much better and funnier it would be if the dialogue were in English. We can’t blame him but do give him credit for fine acting and singing. His interaction with the delightful Papagena of Jacqueline Woodley is a pleasure to watch.

The Queen of the Night is like a big target in a shooting range. Everyone has heard the highly distinctive “Der Hölle Rache” (even if they can’t remember the name) where the soprano has to belt out those high notes as she orders her daughter to kill her father Sarastro. Soprano Ambur Braid does just that with passion and murderous defiance.

The Magic Flute has some thrilling choruses from the solemn march of the priests to the final “Hail” to Tamino and Papageno who have fought bravely and are rewarded with eternal wisdom and beauty. Kudos to the Canadian Opera Company Chorus and the Orchestra conducted by Bernard Labadie.

The Magic Flute was first produced in 1791 in the rough-and-ready Theater auf der Wieden in a suburb of Vienna.  Emanuel Schikaneder, the librettist and producer, was a man of the theatre with a taste for spectacle and broad comedy. The Magic Flute has all of those things and much more of course but would it not be nice if we understood all the nuances, comic, Masonic and serious? Let’s satisfy the purists with keeping the arias in German and let the rest of us have fun with the dialogue in English. Deal?   

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The Magic Flute by W. A. Mozart (music) and Emanuel Schikaneder (libretto) is being performed twelve times from January 19 to February 24, 2017 at the Four Seasons Centre, 145 Queen St. West Toronto. www.coc.ca

DIDO AND AENEAS - REVIEW OF 2016 OPERA ATELIER PRODUCTION

Reviewed James Karas

Henry Purcell’s Dido and Aeneas has the dubious distinction of being first performed by the girls at a boarding school in Chelsea run by a dancer and choreographer. The date is uncertain and the closest scholars get is to state that it was before December 1689. The opera is frequently described as a masterpiece or the best opera in English which may explain why it was not produced in England for almost 200 years (1704 – 1895). Even then it was not until the latter part of the twentieth century that it started being produced regularly.

The opera is an ideal vehicle for Opera Atelier. It has some beautiful music, of course, but it provides plenty of opportunities for the Artists of Atelier Ballet and the Opera Atelier Chorus. Most of the pieces are quite short, perhaps to accommodate the abilities of the young girls who first performed it, and its vocal requirements are below the stratosphere.

 

Wallis Giunta and Christopher Enns. Photo Bruce Zinger 

Bring on Director Marshall Pynkoski, Choreographer Jeannette Lajeunesse Zingg, Set Designer Gerard Gauci and Costume Designer Michael Legouffe, experts in the production of Baroque opera, and watch the results.

The first thing Pynkoski does is add a prologue that puts the plot of the opera in context. Not all of us remember the story of Dido Queen of Carthage as related by Virgil in The Aeneid. Actor Irene Poole, in a delightful and sprightly performance, brings us up to snuff by reading parts of The Aeneid in the voices of Virgil, Juno, Neptune and Aeolus. 

There are a number of dances indicated in the badly preserved score but Zingg adds a few more using Purcell’s music. 

Pynkoski and Zingg are thus able to produce an integrated opera-ballet that flows naturally from the plot and the music. The production combines the artifice, gestures and poses of baroque dance and the splendid music and singing of the period. There is great emphasis placed on colour and spectacle but the latter is not exaggerated. We see elegance, beauty and grace. 

Mezzo-soprano Wallis Giunta sings the role of the unhappy Dido, a widow who has fallen in love with the Trojan Aeneas who will eventually abandon her. We know that because he has to found Rome, you see, and it is a job ordered by the gods. In her first aria “Ah, Belinda” Dido sings of her turmoil expressed in librettist Nahum Tate’s terse couplets. Giunta does superb work in the role especially in the signature aria of the opera, the moving lament “When I am laid in earth.”     

Soprano Meghan Lindsay is Dido’s faithful confidante Belinda. Lindsay is a highly accomplished singer of Baroque roles and her supple and velvety voice was on fine display in this opera. 

Well-tuned and well-toned tenor Christopher Enns is our hero Aeneas who must love and leave because he is to other business bound. A fine performance by Enns.

Mezzo-soprano Laura Pudwell, and sopranos Ellen McAteer and Karine White get the fun roles of the Sorceress and the First and Second Witches respectively. They are the baddies who want to destroy Dido but provide good entertainment while at it.

The Toronto Children’s Chorus Choral Scholars harping back to the school girls who sang in the first production of Dido no doubt, joins members of the Tafelmusik Chamber Choir and the Tafelmusik Baroque Orchestra conducted by David Fallis and they do superior work.

Dido is a relatively short opera and can be performed in less than an hour. With the addition of a Prologue and some dances, it lasts for an hour and a half and I found myself hoping for more. The music, singing and dancing with the colourful sets and costumes create a mesmerizing effect and an enchanting night at the opera.

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Dido and Aeneas by Henry Purcell runs from October 20 to 29, 2016 at the Elgin Theatre, 189 Yonge St. Toronto, Ontario, M5B 1M4. www.operaatelier.com

ARIODANTE - REVIEW OF 2016 CANADIAN OPERA COMPANY PRODUCTION

**** (out of 5)

By James Karas

Georg Frideric Handel’s 1735 masterpiece Ariodante gets a great deal of praise but relatively few productions. The Canadian Opera Company remedies the latter situation for Torontonians by producing a highly imaginative and sound production by director Richard Jones.

When the overture begins and the stage lights go on, we see a large, ordinary table and chairs in an ordinary room.  A cleric is admitted into the room where people are sitting around the table. He begins to conduct what looks like a Bible class silently. He gesticulates a great deal and points towards heaven like a zealous televangelist. The people are dressed in modern clothes of no particular distinction but one man is wearing a kilt.

 

A scene from the Canadian Opera Company’s production of Ariodante, 2016, photo: Michael Cooper

The latter scene is not in Handel’s opera but is an invention of Jones who gives Ariodante a fascinating and highly original interpretation. 

We will soon discover that the cleric is Polinesso, the Duke of Albany and the man in the kilt is the King of Scotland. In the opera Polinesso is the bad guy but in Jones’s production he is a creep. As a cleric he is a Tartuffian fraud and as a human being he has Trumpesque proclivities towards groping which progress into serious sexual assault and perhaps rape. Nice guy. 

The plot begins to unfold. Ariodante is a prince in love with Ginevra the daughter of the King. Polinesso professes love for Ginevra (she tells him to go to Hades) while Dalinda, her servant, is madly in love with him. In order to achieve his objectives of (a) getting rid of Ariodante, (b) marrying Ginevra and (c) grabbing the throne of Scotland, Polinesso arranges for Dalinda to dress like Ginevra and have Ariodante see them in Ginevra’s bedroom in a compromising position and hello objectives. Almost. 

Polinesso gives Ginevra a potion that knocks her out (Jones’ invention). Ariodante does see “Ginevra” being unfaithful and is so distraught he is ready to commit suicide (and is reported dead), the King disowns Ginevra, she is beside herself with grief …and if this sounds like something out of Shakespeare’s Much Ado About Nothing, yes, it is. But stay tuned for the happy resolution to all of these entanglements and be prepared for a surprise that, like the scene with Polinesso as an evangelist, is the invention of Jones.

 

Jane Archibald as Ginevra (on bed) with Alice Coote as Ariodante and Johannes Weisser 

as the King of Scotland (in front row). Photo: Michael Cooper

Handel provides an outpouring of recitatives, arias and duets that go through a gamut of emotions. From the expressions of blissful love and happiness of Ginevra and Ariodante, to scenes of grief, treachery, despair, disgusting behaviour, this opera has vocal and musical demands that demand extraordinary talents. The COC has them.

Red-haired soprano Jane Archibald leads the cast as Ginevra. She begins by making herself beautiful and declaring her love for Ariodante but changes her tune to rebuffing Polinesso if gruff terms. After some blissful moments with Ariodante she is crushed, disowned and goes mad. That is a great deal of vocal and emotional ground to cover and Archibald is simply splendid at it.

Mezzo-soprano Alice Coote sings Ariodante, a role initially assigned to a castrato. Ariodante wears baggy pants and of course is anything but a feudal knight. Coote makes us feel his happiness and his pain and we get over the incongruities of feudal references in a modern setting.           

Mezzo-soprano Varduhi Abrahamyan excels vocally as the louse Polinesso and convinces us to dislike him intensely. Soprano Ambur Braid displayed impressive tone and range as the foolish Dalinda.  

The opera calls for a number of ballet sequences but the dancing in this production is mercifully cut to a minimum. Jones does add some puppet sequences which, if I understood them correctly, show Ariodante and Ginevra consummating their marriage and having children. It’s done very tastefully but struck me as quite incongruous especially considering the end of the opera as interpreted by Jones.

The set by Designer Ultz is quite brilliant. The whole production is done on a single set that shows a small entrance on the right leading to the large room with the table. Ginevra’s bedroom on the right is separated by an imaginary door and it all works superbly. 

Johannes Debus, the COC’s Music Director, conducts the COC Orchestra to the high standard that we have come to expect. 

At four hours Ariodante approaches Wagnerian length and there were people in the audience who would not have objected if some of the arias with the numerous repetitions were made a bit shorter.

Near the end of the performance when we expect the inevitable reconciliation and celebration of the nuptials of our hero and heroine, Jones has something else up his sleeve. 

A large banner is brought on the stage with the Biblical quotation: “And the Lord God said: It is not good that the man should be alone. I will make him a helper fit for him.” 

Dalinda steps outside and is no longer part of the festivities.

Ginevra takes a suitcase and goes out on the road trying to thumb a ride.

In a single stroke the entire tenor of the opera is changed. Ginevra and Dalinda rebel against the conventions stipulated by the libretto. They become free woman. 

Brilliant. 

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Ariodante by Georg Frideric Handel is being performed seven times between October 16 and November 4, 2016 at the Four Seasons Centre for the Performing Arts, 145 Queen Street West, Toronto, Ontario. Tel:  416-363-6671. www.coc.ca

TRISTAN UND ISOLDE – REVIEW OF LIVE FROM THE MET PRODUCTION

**** (out of five)

Reviewed by James Karas

 Any opera company that dares to produce Tristan und Isolde had better be armed with heavy vocal, orchestral and artistic artillery to match operatically what the Prussian army could do militarily. Not to mention a bank account that may surpass the budget of some small countries. Companies like that can be numbered on one hand with New York’s Metropolitan Opera being at the front of the line.

The new production of Tristan und Isolde, conducted by Sir Simon Rattle and directed by Mariusz Treliński, is bold, innovative and brilliant. The three critical components of the opera are delivered by the top tier talents in the industry. Sir Simon Rattle, the out-going conductor of the Berlin Philharmonic and the Met orchestra gave a stellar performance of Wagner’s complex and lengthy score.  

 Stuart Skelton as Tristan in Wagner's Tristan und Isolde. Photo by Ken Howard/ Metropolitan Opera.

Soprano Nina Stemme is at the top of the rarified field of Wagnerian singers. As Isolde she displayed vocal power, immense stamina and variation of tone for the gamut of emotions that the captured Irish princess expresses as she is being transported by Tristan, the man who killed her betrothed and whose life she saved. Wagner piles up vocal and emotional demands that only the best singers can tackle and Stemme is clearly one of the best.

Tenor Stuart Skelton is relatively new to the role of Tristan but he has the full vocal prowess and control that it demands. His Tristan is a modern naval officer who falls in love with Isolde, the woman that he is bringing to marry King Marke, the man who has appointed him as his heir. The troubled Tristan has another side, at least in this production: he kills Isolde’s betrothed Morold with his pistol at point blank range while the victim is blind-folded and tied up. That qualifies as a war crime.  A great performance by Skelton.

Mezzo soprano Ekaterina Gubanova sings Brangäne, Isolde’s faithful and sympathetic servant. Gubanova holds her own and gives a first-rate performance in the role. Bass René Pape sings the role of the troubled and betrayed King Marke, the man who gave everything to Tristan but was betrayed by him. Pape has a resonant bass voice that emanates his decency pain and generosity as Marke.    

What gives the production perhaps an even greater “wow” review is the production values brought by Treliński with Set Designer Boris Kudlička, Lighting Designer Marc Heinz and Projection Designer Bartek Macias. 

Nina Stemme as Isolde in Wagner's Tristan und Isolde. Photo by Ken Howard/ Metropolitan Opera.

What we see first is a radar screen and then a modern battleship navigating a raging ocean (and a perfect image of the raging emotional turmoil of the main characters). Images of the radar screen, the violent waves and the battleship will recur regularly throughout the five-hour performance. The dominant colour is gray.

The characters wear modern clothes. Tristan and Marke are in naval officers’ uniforms. The sailors with the black berets could pass for commandos. They engage in pretty egregious sexual harassment of Brangäne and it may be a directorial whim that we could have done without. Brangäne is dressed tastefully and attractively, whereas Isolde in black slacks and a coat looks like a suburban mother who threw something on so she can take the children to school on time. Both Tristan and Isolde smoke making them, I suppose, just ordinary mortals who will eventually shed their normality and mortality in love/death.    

  

The stage is divided into a number of sections for the scenes on board the ship. We see Isolde in her suite on the ship which alternates with the iron stairs leading to different decks as well as the helm.

The second act takes place in the hull of the ship where barrels full of explosives are stored. The final scene in Tristan’s castle looks like a hospital room where the hero recalls his past as he dreams or imagines Isolde arriving. In his coma, he sees much more that adds to the brilliant interpretation by Treliński.

The lovers beat death with death. All was caused by the love potion. In death there is reconciliation, redemption and apotheosis through the power of love and Wagner’s music.

Where did the five hours go?

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Tristan und Isolde by Richard Wagner was transmitted Live in HD form the Metropolitan Opera on October 8, 2016 at the Cineplex VIP Cinema, Don Mills Shops, Toronto and other theatres across Canada.  It will be shown again in select theatres on November 12, 14 and 16, 2016. For more information: www.cineplex.com/events         

NORMA – REVIEW OF 2016 COC PRODUCTION

James Karas

Familiarity in opera breeds enthusiasm, strong opinions and a full house. That is the expected reaction to the Canadian Opera Company’s production of Bellini’s Norma as the centerpiece of this fall’s two productions.

Producing Norma without a star soprano versed in the bel canto repertoire will not bring the end of the world but it may have deleterious effects on the opera company and its artistic director. Alexander Neef, the COC’s General Director, need not worry about his job and Torontonians can hold their head high about the quality of opera in their congested city.

 

 (in foreground) Russell Thomas as Pollione and Sondra Radvanovsky as Norma. 

Photo: Michael Cooper

Soprano Sondra Radvanovsky has the vocal range, tonal beauty and acting ability to deliver an extraordinary Norma and she does not disappoint. There are many ways of playing Norma, the Druid priestess who betrays everything by falling in love with a Roman proconsul, the enemy of occupied Gaul. As if that were not bad enough, she has two children by him and he has tired of her and fallen in love with a young novice priestess named Adalgisa. Try counting the emotional turmoil that Norma must express – the betrayed lover, the illicit mother who thinks of murdering her children, the deceived friend and the treacherous priestess who has betrayed her people.

There is wide latitude for a soprano to deliver a melodramatic, almost histrionic Norma or a deadly one of the singer lacks the vocal and acting prowess that the role demands. Radvanovsky maintains a mostly regal composure that is both noble and emotionally searing. From finding out that her friend Adalgisa is in love with Pollione to confessing to her followers that she has betrayed them and stepping into the pyre, this Norma does it all with poise and emotional grandeur.

Tenor Russell Thomas is terrifically fine foil for this Norma. He has a splendid voice and his Pollione grows from the deceiving lover into a noble man who joins Norma in love and death in the ultimate moments of the opera.

Mezzo soprano Isabel Leonard’s Adalgisa is a decent woman who has betrayed her faith and her friend but she finds nobility as well. Vocally Leonard does superbly and she is a pleasure to hear especially in her duets with Norma where the two voices provide both contrast and similarity in tone.

Baritone Dimitry Ivashchenko is a commanding Oroveso, the High Priest and father of Norma, with impressive resonance and presence.

 Sondra Radvanovsky as Norma. Photo: Michael Cooper

Director Kevin Newbury and Set Designer David Korins have a particular approach to the opera. The set consists of four massive pillars with heads of bulls on top of two of them. The forest of the Druids consists of bare trees and the mistletoe that Norma cuts is white. The dominant colour is almost entirely gray with flashes of red and blue at the back of the stage. The gates that close off the back of the stage when we are not in the forest make the place look like a large storage garage.

In the second act the head of a huge bull appears on the left side of the stage. It looks like a Trojan Horse or perhaps a Trojan Bull. It has only one horn that points menacingly downwards. I did not get the symbolism of the bull whose base in the end served as the pyre on which Norma and Pollione meet their fate. There was a cart with a raised platform as well and it served as a sort of pulpit for Norma and Oroveso. I am not sure that it was necessary or if it added anything to the production. Newbury seems to think that snowflakes are a good idea but, again, I am not convinced that they did anything.

The orchestra and chorus under the baton of Stephen Lord did a great deal with Bellini’s melodic and often lush music.

Radvanovsky gives a defining performance as Norma with superb singing from the rest of the cast. You may forget some of the sets but you will not soon forget Radvanovsky’s performance. 

        _________

Norma by Vincenzo Bellini with libretto by Felice Romani opened on October 6 and will be performed eight times until November 5, 2016 at the Four Seasons Centre for the Performing Arts, 145 Queen Street West, Toronto, Ontario. Tel:  416-363-6671. www.coc.ca

SWEENEY TODD – REVIEW OF 2016 GLIMMERGLASS FESTIVAL PRODUCTION

James Karas

Sweeney Todd, The Demon Barber of Fleet Street did and still does well as a Broadway musical since it opened in 1979. But it does just as well and perhaps better on the operatic stage. The Glimmerglass Festival has chosen it as its “musical” for this year’s roster of productions. It proved a wise choice in a highly praiseworthy production.

The production has the benefit of superb singers and an accomplished orchestra but it relies on pared down sets.

 

Luretta Bybee as Mrs. Lovett and Greer Grimsley in the title role of The Glimmerglass Festival's 

production of Stephen Sondheim's "Sweeney Todd." Photo: Karli Cadel/The Glimmerglass Festival

In the opening scene, we see the cast in their “street clothes” and they take their costumes from a clothes rack to become the chorus of the opera. Set designer Andrew Cavanaugh Holland provides two moveable walls which serve as the backdrop for most of the performance with some variations for the asylum scene and the “end” of Mrs. Lovett.

Sweeney Todd is billed as a thriller and it reaches back to Jacobean revenge tragedies where murder, dismemberment and far more grotesque doings are the order of the day. Benjamin Barker was a barber on Fleet Street in London but he was transported to Australia by Judge Turpin on trumped up charges. His crime was having a pretty and virtuous wife that the judge desired. Now he returns to London disguised as Sweeny Todd to wreak vengeance.

He meets the inimitable Mrs. Lovett who runs a pie shop and she knows Barker’s story. They team up to avenge Sweeney and save his lovely daughter Johanna (Emily Pogorelc) who is the judge’s ward and on whom the judge has lecherous designs. As a barber, Sweeney has the perfect method of disposing of people’s souls with his sharp razor. Bodies are a bit more cumbersome but, you see, good meat is hard to come by and Mrs. Lovett needs a lot of it for those delicious pies.

Bass-baritone Greer Grimsley leads the cast as the grim and murderous Sweeney in search of his wife, his daughter and justice. He has a threatening manner and vocal power as he slashes his victims’ throats. 

L to R: Emily Pogorelc as Johanna, Harry Greenleaf as Anthony Hope, Greer Grimsley in the title role, Peter Volpe as Judge Turpin and Bille Bruley as Beadle Bamford in The Glimmerglass Festival's production of Stephen Sondheim's "Sweeney Todd." Photo: Karli Cadel/The Glimmerglass Festival.

Mezzo-soprano Luretta Bybee as Mrs. Lovett makes a perfect partner for Sweeny. If he is after revenge, she is after money and more. Bybee performs with gusto the lurid role and sells delicious pies made with human flesh with sheer pleasure. She is just the type of woman your mother wants you to bring home.

Bass Peter Volpe plays the despicable Judge Turpin who wants to marry his young and beautiful ward Johanna, Sweeney’s daughter. Volpe sings and acts well and when Turpin gets a well-deserved close shave we are almost eager to order a meat pie from Mrs. Lovett the next day.

There are several performers from Glimmerglass’s Young Artists Program that deserve credit for praiseworthy work. They are tenor Christopher Bozeka as the caricature of the operatic singer Adolfo Pirelli, tenor Nicholas Nestorak as the toady Tobias and tenor Bille Bruley as the ass-kissing Beadle Bamford. The opera seethes with disgusting characters but Glimmerglass is rich in having singers to do justice to the roles.

The lovely voiced soprano Emily Pogorelc deserves special praise as Johanna Barker who, with baritone Harry Greenleaf, another talented young artist, provided the love interest and decency in the moral cesspool of the opera.

Director Christopher Alden had a fine cast but limited stage props to work with.  He does a fine job with a few movable panels.

The chorus’s movements are well choreographed and the production works well.

The Glimmerglass Festival Orchestra under John DeMain performs superbly.

            _____

Sweeney Todd, The Demon Barber of Fleet Street  by Stephen Sondheim (music and lyrics) and Hugh Wheeler (book adapted from the play by Christopher Bond) opened on July 9 and will be performed nine times until August 26, 2016 at the Alice Busch Opera Theater, Cooperstown, New York. Tickets and information (607) 547-0700 or www.glimmerglass.org