Verdi, Rigoletto: Soloists, San Francisco Opera, War Memorial Opera House, 30.09.2006 (PB)

 

 

Given all the (justifiable) fanfare about recent soprano performances so far this season, one hardly expected the string at SFO to last this long. Deborah Voigt in Verdi’s “Un Ballo in Machera,” and Christine Goerke in “Die Fledermaus” would indeed be hard acts to follow, most subscribers here acknowledged.

Yet, Mary Dunleavy was in extraordinary form on opening night. She’s hardly a stranger to the role, however, having played it with aplomb at the Met and with the Hamburg State Opera in past years. She has demonstrated that she’s truly a “singing actress” in title role of Verdi’s “La Traviata,” and now one may assume that her “Gilda” will become another signature.

Less of a surprise, but certainly no less satisfying, was the job done by Paolo Gavanelli as Rigoletto. By now, most avid opera-goers know that this baritone owns the role. (His performance at the Royal Opera House Covent Garden is available on DVD.)

The two principals were especially powerful together in the staging of the final scene reuniting father and daughter singing a heartbreakingly tender “Lassu -- in cielo.”

Giuseppe Gipali, an Albanian tenor of some promise, was a disappointment, however. This was his SFO debut, which may explain his tentative approach to the role of Duke of Mantua. It’s a part that demands a big voice in this house, and he simply did not bring it with him that night.

The opening night jitters may have affected Conductor Stephen Lord’s shaky command of the orchestra, too. There were several awkward tempo changes that seemed to confuse members of the chorus and at times…even the principal singers.

Michael Yeargan’s de Chirico-inspired set, coupled with the bold and bright lighting done by Mark McCullough, gave this production added elements of visual tension. While there were a few gripes voiced about this “minimalist” staging, a story as overwrought as this one could use this kind of sobriety.

 

 

Patrick Burnson