Chautauqua Performs 'Luisa Miller'

Published in The Post-Journal, Jamestown NY
July 11, 2011
By Robert W. Plyler

For original online article click HERE

CHAUTAUQUA – Chautauqua Opera taught a large Amphitheater audience the meaning of “grandeur,” Saturday evening, in a performance of Giuseppe Verdi’s very grand opera “Luisa Miller.”

The opera is far from Verdi’s best-known work, perhaps due to the fact that it makes such giant demands on both cast and orchestra, but when it is well done – and it was very well done in this production – it produces thrill after thrill after thrill.

Barbara Quintiliani sang the title role with a voice which reached powerfully over the very large orchestra without seeming effort, to the back of the giant performing space, and beyond. She demonstrated surgical control, whether nearly silent or making the rafters ring, and she made us feel what her character was feeling, from passionate love to betrayal and anguish.

Tenor Gregory Carroll also demonstrated a large instrument and great intensity as Luisa's lover, Rodolfo. Neither lead was a classic beauty, but the minute they started singing, they were the focus of every attention.

Todd Thomas, a well-known singer at area operas, sang Luisa's father as though he were the lead in the opera, and because Luisa's love for her father is the point on which the entire plot turns, that was appropriate and most impressive.

The story is set in what is now Austria. Luisa is a very young woman of the lower middle class. She has fallen in love with a man named Carlo, but it turns out that this is a serious mistake. Carlo is actually Rodolfo, the son of the local nobleman, Count Walter, and the count has chosen a wife for the young man who will bring wealth and important political connections to his family. When the son remains devoted to Luisa, his father sends a henchman appropriately named Wurm to arrest her father. He threatens to kill the old man unless she writes a letter, pretending she never loved Rodolfo.

Director Jay Lesenger has given a dignified and majestic quality to the proceedings. He has cast the opera principally for voice quality, and his singers reward him with chill after chill up everyone's spine.

Young Daryl Freedman presented a heavy, rich mezzo which promises major future successes in the relatively short role as the bride the count has chosen for his son.

Bass Michael Ventura risked just a touch of cartoon villainy as the despicable Wurm, and the audience rewarded him with friendly and teasing boos, followed by major cheers for his curtain call.

Ron Kadri's sets were beautiful and set the scene very well, despite the exposed quality of the Amphitheater's stage, although there were, perhaps, too many tables and benches and stage decorations which took too long to change between scenes.

Conductor Joseph Colaneri was sensitive to the needs of his singers and wrought thrilling characterizations from the nearly 60 musicians in the orchestra. They seemed to be giving him everything he asked of them.

I wish I could tell you when to rush out and hear the next performance of this thrilling production which was one of the best things I've seen and heard in a very long time. Sadly, there was only one performance.

The company will return to the smaller stage of Norton Hall, July 29 and Aug. 1 for their only other production of the summer: Mozart's ''The Magic Flute.''