Past Production Reviews
3We have nothing but praise for Amy Hutchinson’s stage direction. It unfailingly served the music and the drama with a light touch which is, sadly, infrequent these days. Ms. Hutchinson trusts the material, the performers and, most importantly, the audience. Her abundant creativity is evident throughout, but she never bludgeons us with her “concept”.
Yet this was serious fun and a worthy homage to Donizetti with kudos to Hutchison, Danzig and the creative team on this lively and witty production.
Pasquale’s home is as devoid of color as his films, with makeup, costuming and lighting emphasizing the monochromatic nature of the opening sets. Color bleeds into his world — first slowly, and then in bursts as his bride-to-be appears. It’s an engaging narrative gambit. Credit is due to Peter Nolle (scenery), Kathleen Trott (costumes), Thomas C. Hase (lighting) James D. Geier (wigs and makeup) and Doug Provost (projections). Mr. Glavin’s vocal work was deft and clean, although the orchestra overpowered his lower register at times. Tenor Javier Abreu faced a similar fate: his lyricism was superb — perhaps overwrought in some of the more melodramatic phrases — but his timbre didn’t always project clearly. Smaller standout roles included Ian Christiansen in a supernumerary role as Max the majordomo and baritone Tyler Zimmerman as a purported notary, each making hay with their physical comedy. American conductor Gary Thor Wedow maintained a sprightly pace throughout the evening, keeping a close connection between singers and the orchestra and coordinating the big ensemble numbers with precision. The orchestra sounded oddly treble-heavy, however. This unusual balance was most noticeable in big finale moments, which sounded thin compared to other productions. On the whole, however, this version of “Don Pasquale” is quality work, a genuinely funny bit of opera and fine way to close the Pittsburgh Opera season.
