I Masnadieri, Washington Concert Opera, September 22, 2013
Walker; Thomas, Oropesa
Well, thanks to the GOP I have a lot of time on my hands right now so thought I'd go back and finish this post about the first of the two Verdi rarities WCO is doing this season, I Masnadieri, from last month...
The libretto, from a play by Schiller, doesn't make for a very good opera, but, set to a lot of solid early-mid period Verdi, it is at least bad in interesting ways. It's not that I Masnadieri's forgettable principals have so much more personality than beloved stock characters elsewhere, but here we find them systematically shorn of that choice or relationship that makes for compelling drama. Love interest Amalia stands steadfastly by her man Carlo even though he's rashly started rampaging with the bandits, but up until the surprise stabbing ending, this really seems like the noble choice. Carlo himself seems like a better bet, but his tragedy turns on his shame in joining the bandits, who, with their campy choruses, seem about as threatening as those South Pacific roughs. His failing father, Massimiliano, might have driven home this shame point, but unfortunately they don't have a scene together until late in the play, when a bewildered Massimiliano (having been imprisoned in a tomb by the evil brother) doesn't even recognize Carlo as his son. As for that evil brother, Francesco, we get three acts of unmitigated mustache-twirling and then, out of nowhere, comes a compelling monologue about dreams of hell signifying some sort of burgeoning guilt, but our window of interest is long past. It makes one appreciate the skill with which a piece like Trovatore takes similar raw materials but delivers an immortal potboiler instead.
The evening's Carlo, Russel Thomas, offered the evening's greatest vocal attraction--a big swashbuckling sound that provided pleasure throughout Carlo's solid if not terribly memorable numbers. Only real point of reservation were some unrefined sounds in his piano singing. Lisette Oropesa was perhaps the best known name onstage given her growing list of Met roles (though I think I've only heard her Woodbird via HD). The sound is distinguished and highly controlled with a bit of astringent edge, capable of blossoming wonderfully in the top of the voice. She made handy work of the role's coloratura components, though more admirable than effortless. Mind you, its hard to imagine Amalia's cumbersome opening aria, written as a showpiece calling card for Jenny Lind, coming off much better.
WCO offered a fine array of lower-voiced men to round out the cast, all of which deserved praise, including Scott Hendricks as villain Francesco, Hao Jiang Tian as the unlucky father, and a short but memorable turn by Solomon Howard as the priest who denies Francesco absolution.
Maestro Antony Walker made an excellent case for many of the work's constituent parts, particularly the ensemble closing the first act. The WCO orchestra followed him dutifully through some ambitious tempi that really showed off the momentum Verdi creates, marred only by a few brief moments of fuzziness for the strings. While the choral parts ultimately tend to detract from the overall thrust of the drama, high props must be given to the group assembled here, particularly the men, which kept the precision and musical values high through a great deal of material, including a particularly challenging extended a cappella chorus.