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| Charlene Baldridge Photo by Ken Howard |
Two unrelated yet connected events Saturday. Both involve
the voice.
Nabucco Live in HD
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| Jamie Barton as Fenena Photo by Marty Sohe |
I went to the Mission Valley Cinema 20 Saturday, Jan. 7 to
see the Met Live in HD transmission of Giuseppe Verdi’s 1841 opera, Nabucco, direct from the stage of the
Metropolitan Opera house. My purpose was to see and hear mezzo soprano Jamie
Barton make her Live in HD debut in the role of Fenena, the good sister in the
Biblical tale of Babylonian King Nebuchadnezzar (libretto by Temistocle
Solera), the Jews, the Babylonians and Abigaille, the usurper of
Nebuchadnezzar’s crown and supposedly Fenena’s half sister.
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| Placido Domingo as Nabucco Photo by Marty Sohe |
Renowned tenor/opera impresario-turned-baritone Placid DomingoNewkt Sohe sang the baritone role of Nebuchadnezzar, formidable soprano Liudmyla
Monsastryrska portrayed Abigaille, and James Levine conducted. The opera was
performed upon John Napier’s circa 15-year old monster, multi-level set, which
revolves – Jerusalem on one side, Babylon on the other. The exceptionally
unflattering costumes are by Andreane Neofitou; but I attended for the score,
the glorious singing and the spectacle and was amply rewarded. As they left,
many patrons swore it was the best Live in HD production they’d seen since the
enterprise began in December 2006. Hard to believe it’s been that long.
As you likely know, unamplified opera singers are able to
fill huge halls like the Metropolitan Opera and the 3,000-seat Civic Theatre
where San Diego Opera performs. They have a special technique and way of
projecting it.
My Fair Lady at
Welk Resort Theatre
A nap restored me, friends kidnapped me and took me to Welk
Resort Theatre, where we had dinner and saw Welk’s production of Frederick
Loewe and Alan Jay Lerner’s My Fair Lady,
based upon George Bernard Shaw’s play, Pygmalion.
Who can forget the original with Rex Harrison as linguistics expert Henry
Higgins and Julie Andrews as Eliza, the Cockney flower girl he transforms into
a lady? Or for that matter, who hasn’t experienced the 1964 Film, in which
Andrews was replaced (outrageously) by Audrey Hepburn, whose vocals were
provided by Marni Nixon). In the long run the slight didn’t affect Andrews’
career.
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| Ralph Johnson as Pickering and Lance Arthur Smith as Higgins Photo by Ken Jacques |
At the Welk, Kathy Brombacher directs a fine company headed
by Lance Arthur Smith as Higgins. Others are Shaina Knox as Eliza; Randall
Hickman in fine fettle as Eliza’s father, Alfred P. Doolittle; Ralph Johnson as
Higgins’ kindly friend, Pickering; Susan Boland as Mrs. Pearce, Higgins’
housekeeper; and M. Susan Peck, ultra-effective as Henry’s mother.
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| Randall Hickman as Alfred P. Dooittle Photo by Kan Jacques |
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| Shaina Knox as Eliza, Lance Arthur Smith as Higgins and M. Susan Peck as Mrs. Higgins Photo by Ken Jacques |
I suppose it’s apples and oranges to compare musical theatre
vocal production in 1956 and 2016, and to compare vocal production for musical
theatre and for grand opera, but the gap seems even wider than ever before, belting
aside (blessedly there is no belting in Welk’s My
Fair Lady). So there’s no not mentioning it.
Harrison did not sing his role in My Fair Lady – could not sing – but no one cared. He rather talked
his way through the songs and was a most imperious Higgins. In the Welk production, Smith sings (as Sean Murray
did two years ago at Cygnet), and
Smith’s is a grand interpretation of Higgins, who is relentless but not to the point of cruelty in his demands upon Eliza.
The singing of Knox as Eliza brings me up short. This young
woman has excellent credits and is a good actress. Before Eliza begins her
transformation Knox’s voice fully embraces the Cockney accent, as it must. In the
initial scenes, I found her the combination of her vocal production and her Cockney vowels unendurable, but
told myself that as soon as she began her transformation she would add some
vibrato and perhaps even a modicum of beauty. Wrong. This made it exceptionally
challenging to warm to her character.
The other vocal performance that set me on edge was that of
handsome Ben Williams as Freddy, the young aristocrat who sings “On the Street
Where You Live.” Williams has the potential vocal goods for the part and sings
pleasantly, but not as if he truly loves the
music or the sound he is making. Then again, I don’t believe I’ve ever heard a
truly satisfying Freddy. It’s plainly an unforgiving role.
I did enjoy the supporting players, Cockney types who
transform into Ascot aristocrats and back, assisted by Janet Pitcher’s
costumes, Orlando Alexander’s choreography, and Justin Gray’s fine four-piece
orchestra. Who could resist the score, which includes “Wouldn’t it Be
Loverly?,” “With a Little Bit of Luck,” “Just You Wait,” and “I Could Have
Danced All Night”? And that’s just the first act! Add to these and their Act II
reprises “Show Me,” “Get Me to the Church on Time,” and “I’ve Grown Accustomed
to Her Face,” and you have one of the great, classic American musicals.
I’m just spoiled, expecting quality vocal production from
young performers in present day Southern California; however, don’t stay away
from My Fair Lady on that account.
There is plenty to love here through April 2.
Welk Resort Theatre is located at 8860 Lawrence Welk Drive,
Escondido. https://welkresorts.com/san-diego/theatre/
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