OPERA NEWS online
IN REVIEW
Il Trovatore, Toledo Opera, 3/1/08

Toledo Opera, which presented Carmen in early November, was making preliminary plans for the rest of the season when the company learned that the Valentine Theater, in which it presents its operas, was rocked by a gas explosion on November 23. Though no one was hurt, the theater sustained damage particularly to the stage area and to the orchestra pit. While repairs are underway, the company's March 1 presentation of Giuseppe Verdi's Il Trovatore had to be moved to a temporary theater in nearby Maumee.

The Maumee Performing Arts Center is a lovely facility (part of the Maumee High School) that can accommodate the orchestra for Verdi's score but not the sets Toledo Opera had planned on using. The new plan had the orchestra onstage (to the audience's left) and a bank of chairs on the right for the chorus, dressed in black and acting as a Greek-style chorus part of the time, using scarves as accessories to turn them into Gypsies or soldiers. Principles were in regular costumes designed with a good eye for period style by John Lehmeyer. The "scenery" consisted of carried-on branches, benches and black chairs. Thomas Conlin conducted the opera, giving it a poetic reading that built to a wonderful third and fourth act. For a change, the opera showed its bel canto roots. Elizabeth Bachman directed a fully staged production without much scenery. Lighting by Andrew Griffin was effective. With the exception of Leonora's cabaletta (which was included), traditional cuts were followed.

Il Trovatore is about singing, and artistic director Renay Conlin gathered a strong cast. Andrew Gangestad was a Ferrando of marvelous voice, full and vibrant but capable of movement. The Inez of Margaret Mack was more positive vocally than is frequently the case. The Leonora of Kerri Marcinko was the kind of performance to remember fondly for years. Her voice is one of bright silver and moves easily through the fioritura. The long lines of "Tacea la notte placida" and "D'amor sull'ali rosee" were perfectly poised, while the succeeding cabalettas were sung with such ease that the listener lost track of how hard those arias are. Marcinko also gave a thrilling account of the Act IV duet with Count di Luna, here sung by Sebastian Catana, a tall baritone young enough to be convincingly in love with Leonora. Taking on di Luna for the first time, he handled "Il balen" with suave vocalism and phrasing. The previously mentioned duet was truly sung, without resorting to the breathlessness that afflicts some baritones.

Korean tenor Dongwon Shin sang Manrico. His voice seemed occasionally slightly throaty, and his Italian could still use some work, but he made "Di quella pira" the thrilling capstone of the role it should be, and the preceding "Ah sì, ben mio," with its poignant recitative, showed his artistry. Robynne Redmon gave Azucena every color and nuance the role demands, rising to the great moments (and the B-flat at the end) with no apparent dramaic or vocal strain. The chorus sounded a little unsure at times, but watching three TVs instead of a real conductor face-on can be a problem. It was a wonderful performance that deserved the standing ovation it received.

The eagerly anticipated return to the Valentine Theater is promised for Cavalleria Rusticana in May.

ALAN MONTGOMERY