A scene from Puccini's La Bohème, possibly from the first production.

A Singer’s Notes 60: True Love

Alixina and Jason have done it again.

The Hubbard Hall Opera Theater Resident Artists La Bohème played to a sizeable crowd in the Dorset Playhouse last night, and the audience departed well-pleased. Each opera that I have seen Jason Dolmetsch stage has had the benefit of his excellent ear. Just one example: in Act 3 of La Bohème, where Mimi usually listens off, or nearly off, to the dire pronouncements, Vedrana Kalas walked haltingly across the space way upstage, a few steps at a time, as if what she was overhearing made it difficult for her to continue. Her progress touched the heart. In this abbreviated production (75 minutes with no intermission), Act 3 was given most fully. This is important.

Mozart/Da Ponte, Le Nozze di Figaro, the debut of the Capital Opera Company, Albany

Last August, tipped off by friends of the always-remarkable Richard Giarusso, I ventured up to Cambridge, New York, to hear him conduct Mozart’s Così Fan Tutte at Hubbard Hall, a nineteenth-century “opera house,” which has seen many vicissitudes, but is now flourishing as a community arts and performance center, thanks to the enthusiasm of its local supporters. It was also the inauguration of a new institution, the Hubbard Hall Opera Company, the brainchild of Alexina Jones. The performance was a delight because of the quality of the young, solidly trained voices, the imaginative use of the hall as a three-dimensional performance space, and the lively acting of an intelligently directed cast, who wanted nothing better than to bring Da Ponte’s human comedy and Mozart’s music to life.

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