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Review
OPERA Fine Figaro from Promising Company
June 23, 2002
By John Kendall Bailey:
How uplifting it is to see the progress and gradual transformation of a performing arts group! Judging from Sunday's performance of Mozart's Le Nozze di Figaro, the San Francisco Lyric Opera has found firm footing and can certainly be regarded as a respectable small opera company. Promoting the motto "classical opera at prices that more people can afford," and with a sleek professional program, a growing list of impressive supporters, a working relationship with the Eureka Theatre, and performers of consistently fine calibre, the Lyric is showing promising signs under its recent new management.The singing, both the voices themselves and the clear crisp diction, was consistently enjoyable throughout the entire cast. This was clear right from the beginning, with Paul Thompson's fine rich baritone voice singing the part of Figaro. He has a glorious instrument, with firm low notes and some soaring high notes. Only in the upper register did he find any difficulty; when the music was soft and lyrical he relaxed into fine, beautiful singing, but he strained at times when the dynamic called for more support, and the top octave notes on "si" in "Se vuol ballare" were especially problematic. But Thompson's splendid renditions of "Non piu andrai" and "Aprite un po' que gl'occhi" more than made up for any small faults. He was matched by Susanna Chubarian's portrayal of Susanna. Chubarian delivered beautifully pure sound, lacking some strength in the lower register but consistently well supported throughout, and a delightful compliment to Thompson. There was impressive singing among the upper-class characters as well: Jo Vincent Parks' strong voice captured both the noble and the flirtatious natures of Count Almaviva, and his Act-Three recitative and aria "Hai giàvinta la causa" was especially notable. Tara Generalovich's Countess Almaviva was strong and confident, which is necessary for her character to stand up to her husband, the Count.Sharon Kaye gave plenty of depth to Marcellina, convincingly showing both the plotting and the caring sides of her character. Sergey Zadvorney's Bartolo was equally fine, and Ross Halper displayed his usual comic flair, doubling as Basilio and the stuttering Don Curzio.
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