RSS 2.0 FeedJuly 1, 2009, Classical
Dynamite comes in small packages
The Kansas City Civic Opera's production of Donizetti's "Don Pasquale" last Friday night at Avila College was a true community collaboration. From the musicians in the pit to the singers on stage, they came together like a group of old friends intent on having fun while presenting a fine production of classic opera.
by Bob Gent
The Kansas City Civic Opera's production of Donizetti's Don Pasquale last Friday night at Avila College was a true community collaboration. From the musicians in the pit to the singers on stage, they came together like a group of old friends intent on having fun while presenting a fine production of classic opera.
Director David Adams moved the story from its original Roman setting to Los Angeles in the 1930s. The change in setting was noticeable, but only mentioned once in the dialogue. The sets were understated and versatile; and scene changes were executed with ease. The costumes were well suited to the 1930's style, and made the singers look comfortable and chic. 
An opera buffa, or comic opera, in three economical acts, Don Pasquale was sung in the original Italian, a language with a surplus of short clipped syllables perfect for the fast patter of Donizetti's music. The English subtitles were projected on a screen well back on the stage that were, at times, difficult to read, but nonetheless kept us well informed of the story.
Don Pasquale is the buffoon of this opera, and Kurtis Shomemake brought a natural energy to this role, acting the part with wild abandon. He's a wealthy older man who disapproves of his nephew and heir Ernesto's refusal to marry any of the suitable (read: rich) young women with whom he's been presented. Ernesto only has eyes for Norina who, while poor, is as lovely and sweet as can be. The old man accordingly plans to wed and produce his own heirs, cutting Ernesto off from his inheritance.
Pasquale's friend, Dr. Malestra, suggests his sister, Sofronia (a novice in the convent) as the bride, all the while scheming to dupe the old man into allowing Ernesto's marriage to Norina. We don't fully understand why the doctor has chosen to betray his friend in this way - but he does manage to convince Norina to play the part of his novice sister, marry Don Pasquale in a mock ceremony and then throw off her shy demeanor to spurn the Don's advances. As she burns through his money as fast as her extravagant tastes can handle, 
Norina finally breaks his spirit. He sees one last hope for release from his torments when she plants a note inviting him to a tryst in the garden. Alas, this only results in Don Pasquale finally uncovering all of the details of the sordid plot against him. Ultimately, he is forced to recapitulate and assent to the union of Norina and Ernesto. The opera ends as Norina moralizes about the consequence of old men looking for young love.
As the ingénue Norina, soprano Julie Wyma sparkled with a self-confident air and a strong, beautiful voice. Ben Hilgert played her lover Ernesto, taking the stage with confidence and aplomb, filling the theater with his sweet tenor. While the character of Dr Malestra is pivitol to the action, Chris Cobbert seems to have recognized it as the supporting role that it is, and managed to let the lovers take the fore. Likewise, the chorus did a great job in their role as domestic servants, staying well balanced in their numbers and nimble with their choreography.
I found that the action began rather slowly and rigidly at first, but became more natural as the opera
progressed, and the excellent choreography began to shine through. The theatre itself didn't resonate well to the strong voices on stage, and sometimes the ensemble numbers crowded the space. The 15-piece orchestra was well suited to the setting, rarely overpowering the singers, and keeping a good sound balance. Matt Vangjel's trumpet sounded particularly well.
In community arts organizations, one can sometimes find artists who stay in beyond their 'sell by' dates, relying on seniority rather than talent. This seems to have been avoided in this production; and all of the cast, crew and musicians appeared to be youthful rising talents. The ensemble seemed to have a fun time, which made for a very enjoyable experience for the audience. I only wish such a quality production had drawn a larger audience. I will look forward to bringing my family to more performances of the Kansas City Civic Opera in the future.
REVIEW
Kansas City Civic Opera
Don Pasquale by Donizetti
Friday, June 26, 2009
Sunday, June 28, 2009 (Reviewed)
The Goppert Theater at Avila University
119th and Wornall, Kansas City, MO
www.kccivicopera.org
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