San Antonio Opera
In 'R&J,' true love and a real-deal soprano
October 3, 2011San Antonio Opera assembled quite a strong cast for its first production of Charles Gounod’s “Romeo et Juliette,” but Mexican soprano Maria Alejandres as Juliette earned special notice for some of the most lustrous, deeply pleasurable singing we have heard hereabouts in a long time.
The production opened Sept. 30 and continued through Oct. 2 in Cockrell Theater. I caught the middle performance.
Just 24 years old, according to her biography in the printed program, Alejandres is the real deal. Her voice is the kind you’d like to wrap around yourself on a winter night -- warm, satiny and luxurious.
Technically, she was totally secure, with no iffy patches, and she had power to spare -- and to thrill. Beautiful as her instrument was, her performance never seemed to be just about her voice. She acted convincingly and sang intelligently, with a fine grasp of vocal color. She was willing to take risks for dramatic purpose. She brought an authentic sense of both fear and resolve to the Poison Aria, “Amour, ranime mon courage,” in Act IV.
Apart from a slightly constricted top that opened up as the evening progressed, tenor Richard Troxell’s Romeo was youthful, limpid and stirring. He might have been a shade underpowered for Cockrell Theatre, but keep in mind that Gounod composed this opera for a much smaller (1,800 seats) house.
Bass Timothy Jones’s bright, steely edge and warm core were altogether pleasing in the role of Friar Laurence. Baritone Andrew Garland’s Mercutio was ideal -- virile, spirited and agile in both voice and body. Bass Matthew Arnold made a brief but impressive showing as the Duke.
Mezzo-soprano Elizabeth Pojanowski's big, glossy and aptly cheeky Stephano was a delight. The indispensable mezzo Cindy Sadler was in her usual excellent form as Juliette’s nurse, Gertrude.
Mexican conductor Enrique Patrón de Rueda, in his seventh appearance with this company since his sumptuous “La Boheme” in 2007, led the proceedings with his customary shapely lines and intense energy.
American stage director Cynthia Stokes, responsible for a soundly crafted “Marriage of Figaro” last February, brought uncommon poetry and insight to her staging of “Romeo et Juliette.” When the two lovers meet for the first time at the Capulets’ masked ball, they dance on a stage emptied of other dancers, as it must seem to two young people in love. The bedroom scene was fully erotic without inviting a leer. The tomb scene was gorgeous. I’ve never seen two people die more beautifully on stage.
The only flaw in the creative department was the drab, shabby, ancient set rented from Stivanello Costume Co. A few artfully placed shipping crates on a bare stage would have been more attractive, and more dramatically effective.
Mike
Greenberg
