A young 'Marriage' A young 'Marriage' (February 22, 2002)

West Bay's cast short on energy and experience, but 'Figaro' a definite standout in his debut

by Kelly Snyder

West Bay Opera's production of Mozart's "The Marriage of Figaro" capitalizes on two strong advantages: the intimacy of the Lucie Stern Theater and the mostly young cast. But youthfulness and relative inexperience can also play against the not-always-apparent demands of the opera. Ensemble acting, role pacing and stage presence -- all vital elements -- were less evident, unfortunately.

Added to that, all the roles were single-cast, rather than the usual double-casting of principals. In roles as lengthy and demanding as some of those in "Figaro" (Susanna in particular), that means heavy demands on young performers. At the second performance of the opera on Feb. 16, there was a decided lack of energy that was a direct result of a demanding rehearsal and performance schedule.

"Figaro," which premiered in Vienna in 1786, is set in the household of Count Alviva, where all the action takes place in a single day. The count's wandering eye has landed on Susanna, his wife's maid, who is slated to wed Figaro, the count's servant. The philandering count schemes to invoke his "droit du seigneur," while Figaro, Susanna and the countess all conspire to make the count forego his right and return his wife's affections.

In the title role, the young Jason Detwiler made a promising company debut. He displayed a firm, full-toned baritone, the top not completely set, but the middle and lower registers evenly produced and pleasant. Likewise, he had an easy, natural stage presence well-suited to the role. His Figaro was more good-natured comrade than wily schemer.

Alison Greene as Susanna paced her lyric soprano through the lengthy role well enough to get through her Act IV aria in good voice. But her Susanna was a passive observer, capably reacting to every situation. It was the opposite of what the role calls for -- to be an active participant and a catalyst for much of the action. Greene in particular seemed to be paying the price for having to sing the role three days in a row after an exhaustive week of dress rehearsals.

Shana Blake Hill was a lively, charming Countess Almaviva. After a rather stiff opening with her Act II aria sometimes under pitch, Hill hit her stride with an animated performance. This was not a woman who would sit around bemoaning her fate while her husband went philandering.

As the prurient husband, Count Almaviva, Michael Taylor showed what an asset performing experience can be. Taylor's clear understanding of the role, his ease with the recitative (the sung dialogue between musical numbers) and his expertly paced performance all contributed to his success in the role. Taylor arrived at his third act aria in fresh voice and let loose with a masterful rendition, easily negotiating the wide intervals and cleanly articulating the runs and triplets in the last bars.

Sonia Gariaeff was a complete delight as the young page boy, Cherubino. She managed the knack of playing an adolescent boy without once falling into mawkishness or relying on cliched gestures. When dressed up as a girl in Act II she played it to the hilt, rather than playing boyish embarrassment. Vocally she was just as fresh and unaffected, her light lyric instrument sounding secure and at ease in the role.

Christopher Fernandez brought an infectious energy onstage that reached across the footlights. Playing music master Basilio more as gleeful mischief-maker than cantankerous grouch, Fernandez gave a new take on the part and added another fine portrait to his growing list of character roles.

As Bartolo, the countess' former guardian, Michael Morris hit his stride immediately with a polished opening aria, the patter clearly enunciated and the tone full. Morris deftly balanced the humorous and darker sides of the character with a light, sure touch.

Karen Carle's Marcellina, playing an acquaintance of Figaro, tended toward the severe but was securely sung and provided a striking presence on stage.

Stage director David F. Ostwald had carefully worked out many details, including staging a portion of the overture. Much of what he added worked well and dovetailed neatly with the music, but there was also a fair amount of business that seemed wholly unnecessary, focusing on the direction rather than opera. Conversely, some of the key bits of action received far less attention than some of the added bits. For example, the end of Act III, featuring Susanna's delivery of a note to the count and his covert reading of the note in his wife's presence, was awkwardly staged and hardly credible.

Conductor and music director David Sloss set a brisk pace for the opera with a clean, deftly played overture and a favorable sound balance between stage and pit. But he frequently appeared to be paying more attention to the orchestra than the singers, not always giving them the support and attention they needed to feel relaxed and confident.

The production featured handsome sets by Peter Crompton, lit by Chad Bonaker's unobtrusive, atmospheric lighting. Callie Floor's costume designs ranged from the striking and flattering to some less successful and ill-fitted pieces.

The biggest problem with this "Marriage of Figaro" -- the low energy level of the performers -- will no doubt be alleviated after a few days of rest. The second weekend of performances are sure to have the zest that will give this production what it needs to make it not just acceptable, but enjoyable.

What: Mozart's "The Marriage of Figaro," presented by West Bay Opera

When: 8 p.m. tonight and Saturday. A 2 p.m. matinee will take place on Sunday.

Where: The Lucie Stern Theater, 1305 Middlefield Road in Palo Alto.

Cost: Tickets are $38, with a special $19 youth ticket for those under 18, for the Sunday matinee only.

Info: Call (650) 424-9999 Monday through Friday 1-6 p.m. or visit www.wbopera.org.