Photos by Argo Video Productions

A Carmen with a lot of soul.

Review by Paul Joseph Walkowski OperaOnline.us

Cape Cod Opera is not the Boston Lyric, but like so many small opera companies struggling to keep interest alive and serve an opera community that is clearly present and interested on the South Shore, it does its best...................................

Cape Cod Opera is now doing fully staged productions, and before getting to the singers, a word about those productions: the shows are always colorful and, on Tilden's large stage, always impressive. Three things seem to be a staple for this company, and are applicable, especially, in this production: Its costuming is always rich and era appropriate thanks to costume designer Linda Arthur; its lighting is superb, always colorful and well-utilized (background as well as main stage), thanks to Anne Kiefer; and its set design here, as in other productions, was imaginative and right on mark, thanks to Robert Troie. When you combine the three elements of a production: lighting, costumes and stage design, as well as Cape Cod Opera does, the result is going to be a a great visual feast that is on par with larger and more heavily funded companies.

In bringing this latest production to stage Cape Cod Opera called upon the talents of mezzo-soprano Jodi Karem,........... As "Carmen," she was just what we hope to see in this role. Indeed, Ms. Karem brought to the role the zest and sex appeal that "Carmen" is supposed to, but doesn't always, possess, in other singers. Here, she combined a smooth vocal performance with strong sensual physicality and melded the two in our minds and kept everyone's attention whenever she was on stage. That's what Carmen's supposed to do, and she did it well!

Singing the role of Don Jose was tenor Neal Harrelson. Mr. Harrelson's characterizarion of Carmen's obsession-driven suitor was a good match here. His ringing highs seemed without a limit on top notes, and his acting, especially the final murder scene, was believable. His physical interaction with Karem, I thought, was rough, though. When he shoved her, he really seemed to shove. ..........Lyric Mezzo-soprano Marie McCarville, as Mercedes, and soprano Alisa Cassola, as Frasquita, two gypsy friends of Carmen, performed magnificently throughout and displayed both solid vocal talent and commanding acting skills. Singing the role of Don Jose's neglected girlfriend, Michaela, was soprano Melissa Manseau, who turned in another solid vocal performance, coupled with good stage and acting skills -- a pleasure to hear. In the role of the flamboyant, ever-confident Toreador, Escamillo, was baritone Anton Belov. Mr. Belov has a commanding, full baritone voce and delivery that is easy and comfortable throughout the range. ..................

Filling out this talented cast, were equally talented support members: Thomas Crumb, singing the role of Morales; Aaron Guckian (maybe a little too overbearing and swaggering) singing the role of Zuniga; Brian Ballard, singing the role of El Doncairo; Laurent Martin, singing the role of Remondado; and Pav Wilkinson, singing the role of Lilias Pastia. All did a fine job, all contributed to making this a worthy ensemble. And lastly, hats off to the Cape Cod Opera chorus for another job exceedingly well done. ............. As for this production of Carmen, it was another example of what a small company on a small budget can do with the right talent and creative staff. In my book, it was a "Carmen" with a lot of soul.

Photos by Richard Tucker at Focalpoint

Singers sparkle in classic 'Hansel and Gretel' tale

Extract from review by By Anna Crebo, Contributing Writer Cape Cod Times

The beloved children‘s opera, “Hansel and Gretel," based on the classic Grimm Brothers fairy tale of two siblings lost in a haunted forest, was a success even before it was ever staged. Since the elaborate orchestration requires Wagnerian-size forces, most smaller companies choose to produce the opera using a piano reduction of the score, ……….. Cape Cod Opera is fortunate to have the continuing services of Centerville-based pianist Lucy Banner, whose technical assurance and seasoned musicianship kept the musical juices…………. Mezzo-soprano Valerie Nicolosi excelled as Hansel, …. Her rich-textured, well-controlled voice combined with an animated delivery and youthful, boyish appearance to make the winning performance of the afternoon.

Soprano Elizabeth Canterbury was bright, open-voiced and engaging in her portrayal of Gretel, ………..Duets by the pair were performance highlights, the 14-voice children‘s chorus from Nauset Middle School and Lighthouse Charter School performed its roles with suavity and charm. And the pageant-like Angel Ballet performed by 14 elegantly-tutu‘ed young dance students from Orleans Academy of Performing Arts was like swirls of white icing on the cake. There‘s no doubt mezzo-soprano Selena Moretz as the witch, Rosina Dainty-Mouth, had the children in the audience in her spell. They responded with shouts of approval and spontaneous applause when she was pushed into the oven………………. Rhode Island-based dramatic soprano Janette Lallier was solid-voiced and believable as Hansel and Gretel‘s distraught mother Gertrude, ………….Boston Conservatory trained soprano Beth Grzegorzewski sparkled as the enchantingly attired Dew Fairy, who awakens the sleeping pair after their night in the forest, and Cape soprano Joan Kirchner was beguiling and soothing-voiced as the Sandman, clad in star and moon bedecked blue-black tunic, who showers the youngsters lightly with his sleep-inducing sand.

Photos by Richard Tucker at Focalpoint

Gifted soloists make Cape 'Mikado' a success

Extract from a review in Cape Cod Times by Anna Crebo Contributing Writer

The singing of the lead and major roles was exceptional for a Gilbert & Sullivan production. All too often one hears either insufficiently trained classical voices or, worse, an edgy nasal Broadway-type sound, while Sullivan's music distinctly calls for a light opera approach. Each soloist, besides singing well, looked and, for the most part, acted his or her part to a turn. Moreover, all seemed to be enjoying the romp.

Cape Cod Opera delivers a Mikado that is brilliantly conceived and flawlessly executed, providing the gold standard of excellence for others to follow

Extract by Paul Joseph Walkowski, OperaOnline.us
see the full review at http://operaonline.us/mikadocape.htm

Everything about this production was noteworthy: from gloriously colorful, full costumes, to an economical and simple, yet elegant, set design (consisting of three traditional Japanese arches in aqua on a burnt orange faux marble platform, set off again a scrim that changed colors from scene to scene and mood to mood) courtesy of set designer Cara Marcy, to a kaleidoscopic array of color -- in one scene the backdrop gradually changed from light orange at the top fading into a dull blue at the bottom, with a large white sun projected on the background, to a full deep blue sky with a red sun - brilliant, brilliant, brilliant, thanks to Anne B. Kiefer. Add to these artistic achievements, smart stage direction by Richard Conrad that moved characters about fluidly and naturally from scene to scene, and all presumably under the overall artistic direction of Beth MacLeod, and you have a sure fire winner on all production counts. Everything about this performance deserves high praise and receives it here. What made this production so truly amazing, though, is that each of the performers never missed a cue. They sang, they acted, they danced, they jumped about, they moved around the stage naturally and smoothly while doing everything a performer is supposed to do, keeping the audience's pleasure foremost in their sites as they went about their business. Multiple Bravos for this wonderful cast. Brava! Brava! Brava!

Photos by Argo Video

Extract from a review by Anna Crebo Cape Cod Times - November 2004
"Amahl awakens season's spirit - Gian Carlo Menotti's "Amahl and the Night Visitors" ? the tale of a crippled shepherd boy and his widowed mother who receive a surprise visit from the Three Kings en route to Bethlehem ? has the power to awaken the miraculous Christmas spirit of selfless giving. At the climactic end of Friday night's sold-out opening performance by Cape Cod Opera in Pilgrim Congregational Church, many in the raptly attentive audience were dewy-eyed. No less moved was lead soprano Martha Evans, a company regular, who must have realized she had just delivered one of the best performances of her career as Amahl's embittered mother, fiercely solicitous of her son's needs and discouraged by her inability to surmount their impoverishment. Indeed, as important to the work's success as are the colorful pageantry of the Three Kings and the animated chorus of shepherds, the emotional linchpin of the tightly-knit one-act opera is the nuanced relationship between the dreamily imaginative, somewhat fragile Amahl and his robust, pragmatic mother, resentful of her lot. Cape Cod Opera was fortunate to have discovered Benjamin Young of Lakeville, who made his highly successful stage debut as Amahl in Friday's performance. The slight-appearing youngster has an utterly natural, winsome stage manner and what's more important, refined diction, a bell-like tone, and an infallible sense of pitch. Music director Thomas Vasil conducted unobtrusively and effectively. Making their majestic entrance through the center aisle, the Three Kings, in full regalia, were amusing studies in contrasting personalities. Kaspar is paunchy, hard-of-hearing and comically obsesses about his box of semi-precious healing stones. Melchior has a stately regality. Balthazar is possessed with a dark philosophical aplomb. The three were aptly portrayed by tenor Howard Whitmore, baritone Thomas Crumb, and bass Michael Wrobleski (Brian Gilman performed the role of Balthazar in November 05 and January 06) The chorus of shepherds sang in a nicely animated stage appearance.

Costumes, designed and executed by Linda Arthur, were impressive throughout. Dan Rojay was the pompous, surly Page, a speaking part. The staging by Ann Kiefer and set design by Robert Troie were simple and effective. "

Trouble in Tahiti

Photos by Argo Video

Gianni Schicchi

Extracts from a review by Anna Crebo, Cape Cod Times ? August 30, 2005
"It is refreshing to see operas not drawn exclusively from the dozen or so perennial favorites endlessly repeated by some regional companies in the belief that audiences will not like anything that is unfamiliar. Kudos to Cape Cod Opera for last weekend's production of two one act operas that are perhaps not as performed as they should be, although their composers, Bernstein and Puccini, are practically household names.

The pairing of Trouble in Tahiti and Gianni Schicchi was an ingenious one.

Cavalleria Rusticana / I Pagliacci - 2004

Photos by Focal Point, Orleans

Cavalleria Rusticana

I Pagliacci

Extracts from a review by Libby Hughes, Cape Cod Today
"Jodi Karem's Santuzza broke our hearts" "Ray Bauwens gave us emotional chills with his vocal and acting craft as the brazen & heartless Turiddu" "Anne Kiefer's magical touch on lighting was very apparent, especially the sunset on the church" "Robin Laughlin's costumes were muted in Cavalleria Rusticana and lively and colorful in Pagliacci. "Dr. Thomas Vasil's musical acumen was unrelenting in steering his ten-piece orchestra through two complicated operas" "Cav and Pag put Cape Cod Opera on the map! Take a bow."

Extracts from a review by Anna Crebo, Cape Cod Times
"Cape Cod Opera delivers on double bill. An opera company much like the human voice itself, does not come fully developed it takes years of careful nurturing and considerable outlay of expense and effort to bring operatic potential to fruition. Drawing from the rich cultural resources at its doorstep, Cape Cod Opera, which started nine years ago as a concert opera group, is beginning to emerge as a young company of note... this season's double bill of Cavalleria Rusticana and I Pagliacci is another step forward in terms of the overall ability of soloists and beauty of the physical production."

Die Fledermaus - 2003

Photos by Focal Point, Orleans

Extracts from a review by Anna Crebo, Cape Cod Times
"Superb singing and stylish acting by soprano Patrice Tiedemann (Rosalinda). Prince Orlofsky is comically portrayed by soprano Martha Evans. Both singers have the vocal projection and diction skills to be clearly heard over the orchestra. Craig Hanson (Alfred) has a resilient, high ranging tenor voice with animated acting and fluid movements that create a memorable portrayal that is worth the price of admission. Cynthia Plumb (Adele) was radiant voiced, she negotiates the lilting coloratura passages with assurance and seeming ease. Tom Oesterling (Eisenstein) sings with stylish animation, clear tone and diction. Frank Haggard (Falke) is vocally and physically appealing. Kudos to the exceptionally fine chorus, whose high spirited, well blended choral numbers added immeasurably to the production's appeal. Stage Director David McCarty's ingeniously conceived staging, colorful period costumes and sets were impressive."