by Neil Martin
Puccini meant for his trio of works called "Il Trittico" ("The Triptych") to be an operatic "Divine Comedy." Taken separately, each part told a distinct, if slight, story about a protagonist on his/her way to Heaven, Purgatory or Hell. Taken together, the trilogy is supposed to span the entire realm of human behavior. By performing only "Suor Angelica" and "Gianni Schicchi," thereby excluding "Il Tabarro," (the section on Purgatory), the West Bay Opera has staged a mildly entertaining dialectic. The result is only two-thirds of an opera, to be sure, but it's big enough for the Lucie Stern Theatre.
"Suor Angelica" (performed in Italian) takes place in a 17th-century convent. Sister Angelica (Jillian Khuner, who alternates performances with Iris Fraser) has done penance in the convent for seven years for bearing an illegitimate child. Despairing at the news of her child's death, she drinks poison, but, too late, remembers that suicide is a mortal sin. She begs forgiveness from the Virgin Mary as she dies.
"Gianni Schicchi" (performed in English) is about worldly matters. When a rich baron dies, his relatives squabble over his will, finally forging an apocryphal document themselves with the help of the local rogue, Gianni Schicchi (Robert Stafford, who alternates performances with Leland Morine).
The lyrical intensity of "Suor Angelica" is matched by the lighthearted insouciance of "Gianni Schicchi." The operas are contrapuntal counterparts. "Suor Angelica" is about contrition on the way to Heaven. "Gianni Schicchi" is about mischief on the road to Hell. Sister Angelica seeks salvation; Gianni Schicchi seeks money. This combination works as light entertainment, not high art, like two one-act plays with morals tacked on at the end. This is not the opera of "La Boheme" of "Don Giovanni," or even close to Puccini's grander vision. It's Opera-Lite for the suburbs.
As Sister Angelica, Khuner wore a baleful countenance throughout, yet couldn't quite muster up the hysteria sometimes required for the role. Her voice was solid, if unspectacular, yet she used it gamely as an instrument of sorrow.
As Gianni Schicchi, Stafford displayed the right roguishness to his part, but at times had trouble projecting his rich baritone over the orchestra. Mezzo-soprano Buffy Baggot was the best actor of the bunch; she was wisely cast in significant roles in both shows. Her singing was consistently adept as well, especially as the evil aunt in "Suor Angelica," where she boomed out her alto notes with authority.
The Peninsula Women's Chorus provided a lilting background as the nuns in "Suor Angelica." The orchestra, conducted by Patricia Hennings in "Suor Angelica" and Henry Mollicone in "Gianni Schicchi," is first-rate. Maria Crush's costumes are magnificent. Peter Crompton's sets (especially a rotating rotunda in "Gianni Schicchi") are nifty and spare, nicely evoking the convent and 13th-century Florence in a minimum of space. 1 "Suor Angelica" and "Gianni Schicchi"
Who:
When: Oct. 20-22; 8:15 p.m. Friday and Saturday, 2 p.m. Sunday
Where: Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto
Cost: $29; youth ticket price available for Sunday matinee only
Information: 424-9999
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