Past Production Reviews
2The Pittsburgh Opera performance was outstanding, both vocally and instrumentally. Soprano Jasmine Muhammad offered a compelling performance in the title role. She was both regal and human. Apart from a bit of edginess in a few of her highest notes, Muhammad sang with gorgeous tone and clean, precise lines. Mezzo-soprano Carrie Stallings was completely convincing as Bertarido. Her voice was vibrant and agile, while her characterization of the King was bold and heroic without a hint of exaggeration.Tenor Adam Bonanni offered a convincing picture of Grimoaldo, the usurper who talks (and sings) tougher than he is. Bonanni also sang extremely well, varying his tone and power to dramatic circumstance, and with well-arched phrasing.Philip Gay was impressive as the truly ruthless Garibaldo, who is the power behind Grimoaldo until he sees an opportunity for more power by trying to kill Grimoaldo. Gay has a one-dimensional character but sang with ample vocal heft.Bertarido's sister, Eduige, who rejects Grimoaldo's offer of marriage before he turns to her sister-in-law, was ably performed by mezzo-soprano Laurel Sernerdijian. Her voice has appealing weight, intensity and flexibility.Zachary Wood sang the countertenor part of Unulfo. He's actually a bass, but sang with confidence and appealing, consistent tone octaves above his home turf.Conductor Michael Beattie led a performance that was brilliantly unified in baroque style and dramatic thrust. The orchestra featured guest artists Chatham Baroque, along with Mark Trawka on harpsichord. The remainder of the ensemble was drawn from Pittsburgh Opera Orchestra, played as though born to the baroque manner.The staging has to work within the constraints of the small size of the stage. The dramatic focus offered by stage director Crystal Manich is well conceived. However, her idea of the opera as taking place in a war zone was overdone in the set design. More distracting is the practice of have parts of the set, including the fauna to represent the royal garden, move in and out of place while characters are singing. “Rodelinda” lasts just under three hours as presented by Pittsburgh Opera. There were many cuts; a complete performance would last about four hours. This production also cuts the opera's total duration by breaking it into two parts, rather than Handel's three acts, saving a 20-minute intermission.
Soprano Claudia Rosenthal, portraying Isacio’s daughter, Pulcheria, achieved the greatest balance between musical and dramatic interest. Her character, insulted by her fiancé Oronte’s pursuit of Costanza, became more complex over the course of the opera. Ms. Rosenthal achieved this maturation through her delivery — both comic and sympathetic — and her willingness to have fun with ornamentation. Those efforts sometimes compromised her technical output, but she took risks with the role and gave it a memorable portrayal. As Costanza, soprano Shannon Jennings had a bell-like, liquid tone but maintained a rather one-dimensional, anguished affect throughout the performance. Bass Andy Berry, playing Isacio, owned his character’s creepiness with a gravelly, buzzy tone. Two women portrayed Riccardo and Oronte, roles originally written for castratos. In the title role, mezzo-soprano Leah de Gruyl exhibited agility and separation through complicated vocal lines and delivered a fine, trill-filled love duet with Ms. Jennings, but her depiction could have benefited from more king-like charisma. Mezzo-soprano Taylor Raven’s rich, deep timbre suited the role of Oronte, but she, too, could have given a more nuanced portrayal. Brian Vu impressed in the small role of Berardo. The singers’ stamina and technical grounding was on display in the final chorus.
