Conductor Enrique Mazzola led his first Lyric Opera performance as its music director designate on Saturday night, and the stakes were rather high.
For starters, Lyric Opera hadn’t staged Verdi’s “Luisa Miller” since a lone production in 1982. The work embraces bel canto singing, a technically challenging idiom that emphasizes florid vocal lines and ornate melodic embellishment, a Mazzola specialty. In addition, this “Luisa Miller” marked the launch of Lyric’s multiyear series exploring Verdi’s early works.
If Mazzola felt any pressure, it wasn’t apparent from the performance, which was impeccably sung by a strong cast. The attention to detail that the leading performers lavished on phrasing, articulation, attack, silences and various fine points instantly showed the maestro’s imprint. If this is the level of vocal work we can expect from Mazzola, there could be musical riches ahead.
Considering the score’s strength, it’s a wonder that “Luisa Miller” isn’t performed more often. Then again, it’s tough even for Verdi’s own works to compete for attention with his classics, such as “Rigoletto,” “La Traviata,” “Aida,” “Il Trovatore” and many more. And though the “Luisa Miller” storyline can be considered conventional, at best – with the usual mistaken identities, malevolent antagonists, doomed lovers and tragic consequences – the score nearly makes up for it.
Mazzola indicated as much from the outset, drawing considerable drama from the first-rate overture. By leading the Lyric Opera Orchestra in keen dynamic contrasts and surging climaxes, Mazzola set the tone for the romantic conflicts soon to come.
In essence, the title character loves the wealthy Rodolfo (and vice versa); but Rodolfo’s father, Count Walter, disapproves of the union. Complicating matters, the Count wishes Rodolfo to marry Federica, a duchess, while a diabolical plotter named Wurm lusts for Luisa. Presciently, Luisa’s father sees trouble from the outset.
That’s about all one needs to know of the plot entanglements that ensue, which of course involve blackmail, poison and — well, you can guess where that leads. Suffice it to say that Luisa and Rodolfo do not have a bright future. Or any.
Verdi’s score lifts Salvadore Cammarano’s libretto, based on a play by Friedrich von Schiller, far above its mundane machinations. The composer lavished his most rapturous lines on Luisa, and this San Francisco Opera production has a superb Luisa in soprano Krassimira Stoyanova (heard last June in Orchestra Hall as “Aida” in concert with Riccardo Muti and the Chicago Symphony Orchestra).
In Luisa’s first aria, “Lo vidi, e il primo palpito,” Stoyanova did more than just finesse the coloratura passagework – she brought ardent meaning to it. Her top register here, and elsewhere, was a pleasure to encounter, her high notes unforced and luxuriant.
Toward the end of the work, Stoyanova conveyed subtle yet unmistakable sorrow in her culminating arias. The delicacy with which she foreshadowed her demise in “La tomba e un letto sparso di fiori,” the sense of serenity in the face of disaster she articulated in “Ah! l’ultima preghiera,” and the profundities of death she explored in “Padre, ricevi l’estremo addio” illuminated this character’s nobility.
Tenor Joseph Calleja’s Rodolfo was bright of tone and urgent in delivery, with a touch of the poet throughout. He made a lullaby of “Quando le sere al placido,” caressing its phrases in one of the evening’s high points. Mezzo-soprano Alisa Kolosova offered remarkable tonal radiance as the duchess Federica, as in her duet with Rodolfo, “Duchessa — Duchessa tu m’appelli.”
Bass-baritone Christian Van Horn, a Ryan Opera Center alumnus, was aptly sinister as the scheming Count. Bass Soloman Howard, making his Lyric debut, proved charismatic in gesture and resplendent in voice as the nefarious Wurm. Baritone Quinn Kelsey, a Ryan Opera Center alum, produced a heartfelt performance as Luisa’s father, though not with an expansive sound.
The evening’s other debut was the work of mezzo-soprano and first year Ryan Opera Center member Kathleen Felty as the peasant girl Laura. Felty’s clarion tone and compelling acting in a small role enriched this production.
The vocal tour de force arrived in the daunting a cappella quartet toward the end of the second act. To hear Stoyanova, Kolosova, Van Horn and Howard weave such intricate counterpoint sans orchestra – all the while breathing and phrasing as one – was to realize anew the vocal caliber of this production.
Director Francesca Zambello made the most of an opera that affords minimal opportunity for action. Mark McCullough’s startling lighting design created several indelible tableaux; and Michael Yeargan’s spartan set emphasized pastoral settings. The Lyric Opera Chorus sounded splendid – full and plush.
In the end, these artists made a strong case for “Luisa Miller.” Surely another few decades need not pass until it returns.
3.5 stars (out of 4)
“Luisa Miller” plays select dates through Oct. 31 at the Lyric Opera House, 20 N. Wacker Drive; ticket prices vary; 312-827-5600 or www.lyricopera.org.
Howard Reich is a Tribune critic.
