Opera Vermont debut promises a bountiful future

https://www.rutlandherald.com/features/vermont_arts/opera-vermont-s-debut-promises-a-bountiful-future/article_0086d67c-4d1c-5351-91e8-a1916f874610.html

September 18, 2023

Opera Vermont, which aims to become the statewide opera company, introduced itself last week with a most impressive program of favorite arias, duets and ensembles from grand opera at two of its initial venues — Thursday in Greensboro at the Highland Center for the Arts and Friday the Southern Vermont Arts Center in Manchester.

Thursday at Greensboro, perhaps most emblematic of the high level of the performance was the important part of Act II of Verdi’s “La Traviata.” Kathleen Echols as Violetta pleads with Alfredo’s father Germont, Nicholas Tocci, to allow the relationship to continue, while Germont demands that it end for his family’s sake. Echols’ brilliant soprano and Tocci’s rich baritone achieved the heart-wrenching tenderness that this opera is all about.

Introducing the principals of Opera Vermont was Act I, Scene I from Mozart’s comic “Così Fan Tutte” where the three men plot to prove their betrothed would willingly cheat on them. Joshua Collier, founder and artistic director, is a lyrical tenor of the type prized in Italian opera; the previously mentioned Tocci, assistant director, has a potent and beautiful instrument that he uses most expressively. Cailin Marcel Manson, music director and conductor, was heard last month in TUNDI’s Wagner in Vermont Festival in Brattleboro.

All three hold the same positions in Brandon’s Barn Opera, from which Opera Vermont emanated. The 2023-24 season will continue with Rossini’s “La Cenerentola (Cinderella)” Oct. 13-14 at Barn Opera House. Puccini’s “Tosca” will be presented at the Highland Center.

Feb. 16-17, and Verdi’s “Rigoletto” will be performed at the Southern Vermont Arts Center, May 10-11. The productions will be fully staged with orchestra and English supertitles.

Whetting the appetite for Greensboro’s February “Tosca” was the first act’s “Mario! Mario! Mario!” Echols combined brilliance and sensitivity as the jealous singer Tosca, while Collier mixed impatience and understanding as her lover, the painter Mario. Both delivered the luscious sound that makes “Tosca” one of opera’s richest and most irresistible.

They were supported, as were all the performances, by pianist Claire Black, who represented the orchestra throughout. Black, an excellent pianist who performs throughout the state solo and as collaborator, is both companies’ principal.

Returning to “La Traviata,” soprano Kyra Miller was brilliant with a nuanced lyrical expressiveness in “Sempre libera.” She was even more impressive delivering with rich warmth the depth of “Somewhere” from Leonard Bernstein’s “West Side Story.”

Collier tore his heart out beautifully with his wrenchingly expressive “Vesti la giubba,” the famed aria from Leoncavallo’s I Pagliacci. He was also particularly effective in the popular musical theater anthem “Bring Him Home” from the Boubil-Schonberg “Les Misérables.”

Also from “Les Misérables,” Manson delivered an especially tender “Stars.” It is fascinating, indeed instructive, how much more power these songs have with amplification removed. (Of course, singers with real voices are required!)

Needless to say, all was not perfect in this first outing. The young singers were occasionally a bit enthusiastic for the material. There were no programs — the selections were announced by notes attractively projected onstage behind the singers — but the singers were never identified! (Much of the audience met them at the après-concert meet-and-greet.) Still, if this program is indicative of future performances, there is a beautiful future for opera in Vermont.

Opera Vermont, appropriately, closed its initial program with “Make Our Garden Grow” from Bernstein’s “Candide” — performed with joy and luscious sound by the evening’s entire cast.