UNIVERSITY OF UTAH LYRIC OPERA ENSEMBLE, PARADIGM CHAMBER ORCHESTRA, Le nozze di Figaro, Libby Gardner Concert Hall, Feb. 15
One of the most successful musical collaborations in Salt Lake City is that between Robert Breault’s Lyric Opera Ensemble and Joel Rosenberg’s Paradigm Chamber Orchestra. For nearly a decade the two have teamed up in a variety of operatic works, and each production has been notable for its high level of musicality and professionalism.
This past weekend, the two groups joined forces for a delightful performance of Mozart’s sophisticated and witty Le nozze di Figaro. Because of the large number of students in the U.’s opera program, the two performances featured different singers in most of the roles.
Saturday’s cast was a wonderful ensemble of young talent whose singing was top notch, as was their acting. They were all invested in their respective roles, and they treated the audience to an engaging performance that captured the wit and humor of the plot.
Tyler Oliphant and Jenny Erickson as Figaro and Susanna were a delight. They sang compellingly, with beautifully phrased expressions, and there was wonderful chemistry between them. Oliphant was particularly notable in his Act I aria “Non più andrai.”
Melissa Dawson as the Countess and Daniel Tuutau as the Count were no less convincing in their portrayals. They sang with expression and finely crafted lyricism. Dawson’s account of the Countess’ two major arias, “Porgi amor” and “Dove sono,” were heartfelt and charged with feeling. And Tuutau’s singing of “Hai già vinta la causa” was powerful in its impact.
Gretchen Windt was superb as the love sick page Cherubino. Her portrayal was sincere and she sang the role as if it had been written for her. Her two arias, “Non sò più cosa son, cosa faccio” and “Voi che sapete,” were filled with charm.
Rounding out the cast, all of whom were excellent, were Marilee Wilson (Marcellina); Jared Lesa (Bartolo); Sidnei Alferes (Basilio and Don Curzio); Courtney Bergen (Barbarina); and Elijah Hancock (Antonio).
The Paradigm Chamber Orchestra played wonderfully and Rosenberg’s direction was spot on.
The production was a condensed version of the opera, with most of the recitatives and a number of arias omitted, but that didn’t distract from the overall appreciation of the work. Breault narrated and filled in the missing parts, so there was continuity in the storyline.