Review—Cinnabar Theater’s fabulous“Figaro”—Mozart’s playful and tangled web of matrimony
Mozart’s music soars at Cinnabar Theater as (l to r) Kelly Britt, Cary Ann Rosko, and Bharati Soman star in a hilarious production of “The Marriage of Figaro,” through June 15, 2014. Photo: Eric Chazankin
A big Figaro, up close and personal in Cinnabar’s intimate schoolhouse theater is a treat you can’t pass up. After last season’s sold-out run of Carmen, Artistic Director Elly Lichenstein and Music Director Mary Chun reunite to close Cinnabar Theater’s 41st season with Mozart’s glorious marriage of music and theater. The opera opened last Saturday to a sold-out house and closes June 15 but it has been so successful that an additional performance has been added on Wednesday, June 11.
For those who haven’t experienced Mozart’s magical farce, The Marriage of Figaro which premiered in Vienna in 1786, Cinnabar’s is a wonderful introduction. It has all the special touches that we associate with Cinnabar’s bankable perfectionism and it’s in English. Jeremy Sams’ smooth translation of Lorenzo Da Ponte’s libretto eliminates the fuss of subtitles and lays out all complex plot twists, of which there are many. For those who know Figaro, here’s a chance to sit back and enjoy the scheming, with a new twist—it’s set in the 1920’s rather than the usual 18th century.
The performance takes place on a small ground-level stage with gorgeous sets by Wayne Hovey that take their inspiration from a well-appointed Downton Abbey-like estate. Wherever you’re seated at Cinnabar, you’re just a few feet from the action, so you can take in the expressions on the singer’s faces and the fine details in the costumes and props, making it intense and immersive, just as opera should be. You’re in for a visual treat with the 1920’s inspired costumes created by Lisa Eldrege, who outfitted the entire cast of 22 in hues of black and white, gray, and gold. The gents sport country tweeds and linens and the ladies, lavish evening attire and gowns appointed with delicate lace. The chorus members wear individualized servant’s uniforms.
Figaro is one of my favorite operas because of the wonderful match between Mozart’s lively music and the onstage drama. Mary Chuni and her small but ample orchestra of ten outdid themselves AGAIN. Snuggled between two walls and sitting in a snaking line, they opened with a gorgeous overture and proceeded to play beautifully for all four acts, in perfect sync with the action.
Soprano Kelly Britt, as the young maid Susanna, glows with bright energy and has natural chemistry with her fiancé, Figaro (Eugene Walden), and with Countess Rosina (Bharati Soman) and a palpable revulsion for the skirt-chasing Count. Susanna does the most singing of all the characters and Britt’s powerful voice carried her through the opening night performance, growing lovelier and more nuanced as she relaxed into her role. Her Act III duet with the Countess, about a letter intended to the dupe Count, was a wonderful blending of two naturally lyrical voices. Her Act IV garden aria, “Come Here” (“Deh vieni”), where she sings of love and confuses Figaro, was touching.
Soprano Bharati Soman has her debut at Cinnabar as the pained Countess Almaviva. Shes loves her husband, the Count, but knows that he wants to cheat on her with Susanna, her maid, who is engaged to Figaro, the Count’s servant. Photo: Eric Chazankin
Soprano Bharati Soman has her debut at Cinnabar as the Countess Almaviva and what a lovely voice and countenance she has. She’s in love her husband, the Count, but knows that he wants to cheat on her with gorgeous Susanna, her maid, who is engaged to Figaro, the Count’s servant. At times regal and at times terribly vulnerable and regretful, Soman sang the Countess’s two great arias with poise and great tenderness— Act II ”Oh Love give me some comfort!” (“Porgi, amor”) and Act III “Where are the beautiful moments?” (“Dove sono I bei momenti”).
Baritone Eugene Walden, as Figaro, has a natural comedic flare and excelled in his solo arias and in the wonderful ensembles. In the Act I duet, “Five, ten, twenty” (“Cinque, dieci, venti”), where he’s taking measurements in the bedroom, his endearing chemistry with Susanna set the tone for the rest of opera.
Charismatic baritone Christiaan Smith-Kotlarek sang the role of the scheming lord of the manor, Count Almaviva, impressively, revealing his brooding insecurity. Almaviva fancies himself a wild womanizer but without his money and position, he’d be washed up. Smith-Kotlarek’s Act III revenge aria, “Shall I live to see” (“Vedro, mentr’io sospiro”), is an incisive commentary on class, revealing the Count’s seething anger about his vassals Susana and Figaro outwitting him and finding the happiness that has eluded him.
The cheating Count Almavira (Christiaan Smith-Kotlarek) tries to woo his suspicious wife Countess Almaviva (Bharati Soman). Photo: Eric Chazankin
Standouts in the ensemble include the wonderfully animated mezzo soprano Krista Wigle as Marcellina (Dr. Bartolo’s housekeeper) who claims Figaro owes her money and, if he doesn’t pay, he will have to marry her. Wigle has the “it” factor—it’s impossible to take your eyes off her and she’s a delight in every scene she’s in.
Mezzo-soprano Cary Ann Rosko shines in a pants role as Cherubino, the Count’s flirtatious young page, whom the Count suspects is having an affair with his wife. Rosko’s impish antics are delightful, especially when Susanna and the Countess dress him in girl’s clothes as a disguise. Rosko’s Act II aria “You ladies know what love is” was well sung and the leap out the window that followed comically executed.
Cudos to Wayne Hovey, who spent years doing Cinnabar’s lighting, and is now applying his engineering skills to set design. His set of fluidly shifting walls get top billing, right along with the music and singing—they expand, contract and pivot to create a garden and three beautifully appointed rooms replete with period paintings and portraits.
(l to r): Kelly Britt, Cary Ann Rosko, and Bharati Soman. Mezzo-soprano Rosko is delightful in the pants role of Cherubino, the Count’s flirtatious young page. Photo: Eric Chazankin
Details: Cinnabar Theater is located at 3333 Petaluma Blvd. North (at Skillman Lane), Petaluma, CA, 94952. The Marriage of Figaro has 7 remaining performances—June 6 (sold-out), 7, 8, 11, 13, 14, and 15. Buy tickets online here. ($40 General, $25 under age 22, $9 middle-school and high-school.)
Opera review: Cinnabar Theatre’s “Don Giovanni,” a new production that is sure to ignite your passions, through April 15, 2012
Baritone Anders Froehlich is the captivating Don Giovanni in Mozart’s enduring classic of the same name which opened at Cinnabar Theatre on March 23, 2012. Photo: Eric Chazankin
When Cinnabar Theatre cast baritone Anders Froehlich for the title role in their new production of Mozart’s Don Giovanni, the classic retelling of the Don Juan legend, they were half way home. Not only can Froelich sing, but he has the physique of a lean and muscled Romeo. And, he so convincingly plays the part of Mozart’s suave, seductive, and morally reprehensible aristocrat, that it’s pure pleasure to sit back and experience being seduced by him. Add to that baritone Eugene Walden’s remarkable performance as Leporello, Giovanni’s faithful but grumbling sidekick, and this production soars. Truth be told, the entire cast is superb, the music is glorious and the production is so creative that it represents the opera’s tremendous dramatic possibilities as well a small theatre company at it best.
Soprano Kelly Britt, a 2011 graduate of the San Francisco Conservatory of Music, makes her Cinnabar Theatre debut as Donna Anna in Mozart’s opera “Don Giovanni,” which runs through April 15, 2012. Photo: Eric Chazankin
One of the most amazing aspects of this 225 year-old opera is that it is so filled with fabulous ambiguities, that almost every production emphasizes something different. Cinnabar’s production, staged by Elly Lichtenstein, gives us a Don Giovanni whose beguiling and complex personality is matched by the equally complex women he encounters. After the opening night performance, I found myself ruminating on these women—what they represented in their time and what they bring to the table in the here and now. There’s the unhinged young Donna Anna (soprano Kelly Britt), who has, in the very least, been ravished by Don Giovanni and is mourning the death of her father, who was murdered trying to defend her honor. Normally, she’s depicted as icy cold and hell-bent on retaliation. Here, we also see her warmth and humanity. There’s matronly Donna Elvira (mezzo soprano Eileen Morris) who has been jilted by Giovanni and she too seeks revenge and but, beneath the hurt, she still loves him and can’t free herself of her co-dependent obsession. When she tries to protect young Zerlina from Giovanni’s reckless ways, we see a preservation instinct that we wish she’d exercise on herself. There’s the young peasant girl Zerlina (soprano Emma McNairy), who loves Masetto but is also taken in by the suave Giovanni’s proclamations and the high life he represents. She wants both men and, for a moment, deludes herself into thinking that this can work. And then there is the chorus of women, voluptuous nymphs in all shapes and sizes, writhing in full sensual abandon with each other and with Don Giovanni. The opera’s rich comic and tragic elements are driven by all these interactions and Lichtenstein has really made Giovanni’s journey—to eternal damnation—one riveting ride.
Don Giovanni (baritone Anders Froehlich, right) attempts to seduce the young peasant girl Zerlina (Soprano Emma McNairy, left) at her own wedding party. Photo: Eric Chazankin
23 year-old soprano Emma McNairy was delightful as Zerlina. Winner of the San Francisco Conservatory’s 2011 Voice Concerto Competition, McNairy’s expressive voice shows incredible range and she has a commanding stage presence. And did she snap into character! She played Zerlina as sweet and crafty, bringing a refreshing and realistic complexity to the role. Her pairing with William O’Neill as Masetto, her hunky intended, produced some of the opera’s most fiery moments, another example of the sizzling chemistry that makes this production pop.
Soprano Kelly Britt as Donna Anna was striking—her distinctive voice was smooth, powerful, and evocative. From the moment she appeared, she displayed a whirlwind of emotional extremes that made the impact of Donna Anna’s rape, or ravishing, by Don Giovanni and the sudden death of her father seem very real. The twenty-three year-old has that extra something coursing through her that produces a riveting sound, not yet honed to perfection but on its way, and that’s very exciting to experience.
First to appear and last to utter a solo, baritone Eugene Walden was a thoroughly engaging Leporello. One of the opera’s most humorous moments occurred during his lighthearted “Catalog Aria,” (Madamina, il catalogo è questo) (Act I, Scene v). As the beleaguered Leporello sings the amazing tally of his boss’s conquests to Donna Elvira, he pulls out a seemingly endless accordion book, chock full of women’s faces and descriptive notes, and flings it towards Donna Elvira. This gesture so captivates and infuriates her that she engages in a tug of war with him over the book. This is just one of Elly Lichtenstein’s clever and amusing touches whose effect is priceless. Another of these magical moments occurs with the famous balcony serenade at the beginning of Act II. Just behind the singer and through a widow, we see a very seductive striptease occurring between two voluptuous women in silhouette—the scene is gorgeously back lit and has all the resonant flair of a fan dance. As the women almost get it on, you can feel the heat rising in the audience. The sensuality is carried through to the famous banquet scene, done wine country style, with Giovanni dining on plump grapes and scantily-clad women. In the opera’s final chilling scene, the powerfully built John Minágro, who makes a very commanding Commendatore, now turned singing statue, comes to swoop Don Giovanni to his just desserts—hell. Froelich’s Don Giovanni’s is so intoxicating that, even on his way to hell, he still gets to us.
Cinnabar Theatre’s “Don Giovanni,” has inventive props. Here baritone Eugene Walden, Leporello, sings his famous “catalog aria” to Eileen Morris, Donna Elvira, and flings a seemingly endless accordion-style book that documents his boss’s many romantic conquests. Photo: Eric Chazankin
One of the pleasures of the hearing Mozart’s dramatic music played in the intimate 99 seat setting that Cinnabar offers is that every musician stands out. Conductor Mary Chun and the orchestra of 10 did a valiant job, offering an elegant and cohesive blending with the voices on stages, but at times the sound seemed understated. I had never heard the opera sung in English before, which is the only opera experience that Cinnabar Theatre provides, keeping with founder Martin Klebe’s wish to make opera accessible to all audiences. The main advantage is an immediate understanding of the story, which means it’s very easy to take it all in and you’re not scrambling with translation. If you know the opera in Italian, its beloved arias such as There, we will entwine our hands (Là ci darem la mano), (Act I, between Zerlina and Giovanni) are made all the more enjoyable by singing them in Italian in your mind and checking your Italian against the English as you go.
Music by W.A. Mozart, Libretto by Lorenzo da Ponte, Sung in English (da Ponte’s full translation/libretto translation of Don Giovanni is available free online here.)
Mary Chun artistic director/conductor; Elly Lichtenstein, Stage Director
The Cast, in order of appearance:
Leporello— servant to Don Giovanni, Eugene Walden
Don Giovanni—Anders Froehlich
Donna Anna—Kelly Britt
The Commendatore, Anna’s father—John Minágro
Don Ottavio, Anna’s fiancé—Mark Kratz
Cinnabar Theatre’s production of “Don Giovanni,” is staged and lit ingeniously. Here baritone Anders Froehlich, as Don Giovanni, sings against a dramatically back-lit window where silhouettes of sensuous delights unfold before the audience. Photo: Eric Chazankin
Donna Elvira—Eileen Morris
Zerlina— Emma McNairy
Masetto, Zerlina’s fiancé— William O’Neill
Sandrina, Leporello’s love—Arden Kwan
Paul Gilger, set design; Wayne Hovey lighting design, Tracy Hinman Sigrist, costume design, Barton Smith, choreography
Underwritten by Frank and Mary Lou Schomer and The A to Z Concert series.
Details: Cinnabar Theatre is located at 3333 Petaluma Blvd. North (at Skillman Lane), Petaluma, CA, 94952. Tickets online: $35 General, $32 Seniors 65 & Over, $25 Age 22 & Under. Tickets also be purchased before the performance but pre-purchase of tickets is highly recommended as the theatre is small. Early arrival is also recommended as there is no assigned seating. For more information, call 707-763-8920 or visit http://www.cinnabartheater.org
Run time is 2 hours and 20 minutes, with one intermission.
There are 5 remaining performances: Wednesday April 4, 2012, at 7:30 p.m., Saturday, April 7, 2012, at 8 p.m. Friday, April 13, 2012, at 8 p.m., Saturday, April 14, 2012, at 8 p.m. and Sunday, April 15, 2012, at 2 p.m.
ARThound 