Fair Park Music Hall, November 14, 16, 19, and 22, 2008

By Dean Cassella

The Dallas Opera has launched its final season at the Music Hall with as much punch and verve as one could hope for.  Mozart’s Le Nozze di Figaro is Italian opera buffa (comic opera) at its best, and this latest production delivers beautiful singing, attractive sets, and belly-laughs galore.  Stage director John Copley wisely chose to stick with ponytails and breeches for this production and play it straight (i.e. as librettist Lorenzo da Ponte intended it).  Judging from the enthusiastic audience response, this will be a production to remember, which also bodes well for the rest of the Dallas Opera season. 

For those who are unfamiliar with the work, it is a bedroom comedy that revolves around the libido of Count Almaviva, who wishes to have his way with Susanna, one of the Countess’ handmaidens, who is about to marry Figaro, the castle barber. There are no less than four couples involved in various romantic entanglements and jealous imbroglios, both real and imagined, each of which weaves in and out of the others with hilarious consequences. There is even a bit of slapstick thrown in for good measure.

The real star of this production is the Russian Lyubov Petrova, whose large, sweet voice carries well throughout the Music Hall, in itself no small feat. Petrova sings with a warmth that perfectly suits the role of Susanna, who I always thought should be the very embodiment of the desirable young bride, petite and delicate, yet also shrewd and capable of protecting herself and her abiding interests in Figaro.

Jennifer Holloway also leaves an impression in the ‘trouser’ role of Cherubino, the star-crossed adolescent boy, whose puppy-love for the Countess serves as a foil to the Count. Besides a resonant voice, Holloway manages perfectly to convince us that she is a boy awkwardly walking around in drag. Even a 12 year old from the balcony (my son) could point ‘him’ out amidst the large chorus of maidens in Act III.

Daniel Okulitch also did a fine job in the title, role, although I feel that his voice is a bit too dark for the role. 

Graeme Jenkins warm and sonorous musical direction is always a treat; and this production we also get to hear his harpsichord accompaniment to the recitative (sung dialog scenes).

The audience’s overwhelmingly positive reaction to the production proves that opera can be a viable art form, provided that accessible works are chosen and appropriate production values are respected by those responsible for such things.

Next up on the Dallas Opera palette in December: Johann Strauss’ operetta Die Fledermaus (The Bat).