Opera Western Reserve delivers superb performance of 'Figaro'

The performance really came alive in Act III.
By ROBERT ROLLIN
VINDICATOR CORRESPONDENT
YOUNGSTOWN -- On Friday night, Stambaugh Auditorium provided a lovely backdrop to Opera Western Reserve's fine professional production of Mozart's "Marriage of Figaro," one of the repertoire's greatest comic operas. The greatness lies in Da Ponte's wonderful adaptation of Beaumarchais' play and in Mozart's dazzlingly captivating and varied music, generating a complex interweaving of love relationships and deception worthy of Shakespeare's comedies.
A wonderful cast graced the production. Soprano Marian Vogel scintillated as Susanna, consistently projecting her ingratiatingly lyric sound above the active orchestral accompaniment, keeping a good pace and interpreting the music effectively. She captured Susanna's interesting mix of sweet ing & eacute;nue and clever trickster.
Charlene Canty's Countess was also very strongly projected and well-paced, depicting her world-weary sophistication, her amusing interest in Cherubino and her warmth towards Susanna. Her Act III aria, "Dove sono" ("Are they over"), was beautiful, as was the famous Letter Duet with Susanna, "Che soave zefiretto" ("When the breeze is gently blowing"). The latter chestnut was marvelously delivered, as Vogel's and Canty's gorgeous interweaving vocal lines were accompanied with a lovely oboe solo by Ted Perkins.
Mozart's wonderful naturalistic and pastoral orchestration was exquisitely brought to life by the fine collaboration of singers, instruments and conductor.
Act III
It was indeed in Act III that the performance really came alive. The lively sextet sparkled with energy and elegance.
Brian Keith Johnson's Count Almaviva was first-rate. His bright baritone always came through clearly. The Count actually starts the excitement in Act III. He expresses first confusion at the complex unfolding events, and then anger, when realizing his scheduled tryst with Susanna is Figaro's trick to entrap him. Johnson's performance here was intense and of exceptional quality.
Bass William Clarence Marshall's Doctor Bartolo was equally good. Though a smaller role, his dark, beautiful vocal quality added depth to the production in the ensembles, and especially in his Act I aria, "La vendetta."
Soprano Mary Alice Bright brought talent and a fine vocal quality to Marcellina, Dr. Bartolo's maid and Figaro's mother. Her Act I duet with Susanna was especially effective.
Soprano Amanda Beagle did very well with the small but lively role of Barbarina and displayed a lovely vocal quality.
Baritone Scott Skiba's Figaro was well-acted, but was limited by a lack of clarity in projection and diction. Mezzo Soprano Emily Landa's Cherubino had a lovely vocal quality, but at times was buried in the musical texture. Tenor Andre Bierman as Don Curzio, magistrate, and bass Max Pivik as Antonio, the gardener, brought out their comic support effectively.
Staging was a bit austere, but well-blocked and imaginative. The chorus was well-prepared and added luster to Act IV. Judith Ryder's continuo part was terrific, and except for a few minor glitches, the small orchestra, directed by Susan Davenny Wyner, was excellent.