Opening nights at the Ellie Caulkins Opera House are always festive affairs, filled with anticipation, and Opera Colorado’s opening of Guiseppe Verdi’s “Il Trovatore” on Saturday was no exception.
Among the four formidable lead roles — each equally important throughout the implausible, tragic plot of Shakespearean proportions — the highest praise goes to soprano Michele Capalbo as noblewoman Leonara and mezzo-soprano Nancy Maultsby as the gypsy Azucena. Both alluring, dramatic voices (referring to rich and robust vocal qualities that easily project above the sound of an orchestra) brought heft, fullness and emotion to Verdi’s many sumptuous arias, as well as the pianissimo lyricism and powerful outbursts their parts demand.
That said, Capalbo’s movements, especially in the first half of the four-act, grand opera, were at times stiff and unnatural; in contrast, Maultsby’s agility and sensitive portrayal of profound grief, heart-rending psychological conflict and a dose of willfulness drove home the most persuasive performance of the night.
Less convincing was Avgust Amonov in the title role of Manrico, the hot-headed troubadour. His physical presence — while imposing — was at times awkward, and his voice seemed strained opposite the other male leads. Perhaps his most expressive and affecting moment, however, was the beautifully phrased duet (Ai nostri monti ritorneremo) with Maultsby.
Baritone Robert Hyman delivered a staunch and determined Conte di Luna (Manrico’s brother, unbeknownst to either of them), complemented by bass-baritone Wayne Tigges’ forceful, appropriately strident rendering of Ferrando, the count’s captain of the guard.
Kudos also to the crisp, incisive and dependably meticulous performance of the Opera Colorado Chorus (prepared by John Baril), as well as Allen Moyer’s sparse but effective set design. An enormous picture frame creates the magical illusion of each scene as a painting come to life, and a stunning moon through various stages of its cycle helped establish the passage of time.
The muted lighting design by James Sale is especially imaginative in its evocation of firelight, and the changing colors of the sky at dawn and dusk.
And while Tara Faircloth’s stage direction brought orderliness and intimacy to crowded scenes, conductor Alexander Polianichko coordinated every musical aspect of the masterpiece, drawing from the orchestra tight rhythms and ample space for Verdi’s soaring melodies to unfold.
Closing Opera Colorado’s 2012 season, this overall absorbing production “Il Trovatore” continues through May 6.
