THE VIRGINIAN-PILOT
Copyright (c) 1997, Landmark Communications, Inc.
DATE: Sunday, February 2, 1997 TAG: 9702020096
SECTION: LOCAL PAGE: B4 EDITION: FINAL
TYPE: Music Review
SOURCE: BY LEE TEPLY, SPECIAL TO THE VIRGINIAN-PILOT
DATELINE: NORFOLK LENGTH: 80 lines
The Virginia Opera took a step in a new direction Friday with its production of Handel's ``Julius Caesar'' at the Harrison Opera House.
Just as the organization expanded its artistic range last season with ``The Flying Dutchman,'' its first Wagner opera, this time it reached back in musical history to present its first Baroque opera, its first opera by a composer before Mozart.
This work was not treated as a historic fossil by conductor Peter Mark, or by the cast and production crew. It was given a fresh vitality with singing that was technically superb and emotionally moving. And the ever-changing visual delights matched the spectacle of the singing.
Three countertenors took the leading roles originally written for castrato singers. In this century, the parts have either been sung by female contraltos or they have been rewritten for basses and tenors. The strength and variety in the three men's voices in this production made a convincing argument for countertenors.
David Sabella, in the title role, had a moderate-sized voice with a rounded sound. His coloratura had a liquid flexibility, and he gave thoughtful dynamic shaping to his lines. His emotional approach to the role was particularly suited to the tomb scene in which he mourned the death of Pompey, whose murder complicated the story's political maneuverings.
As Sextus, the son of Pompey, Robert Crowe had the highest range of the three, giving him at times a boyish sweetness. His rage was accented by biting attacks and dazzling cadenzas, and his grief was sharpened by sobbing ornaments.
The third countertenor, Johnny Maldonado, was a menacing Ptolemy, Cleopatra's brother and rival for the Egyptian throne. His singing was both clean and subtle in detail. When needed, he raised his volume to match the force of the others.
Soprano Sujung Kim, having already sung the roles of Gilda and Lucia here, this time had a character who is less of a victim and more of a schemer. Her light voice is well-suited to Handel's detailed music, and the beauty of her tone extended through her whole range. Her acting seemed a bit childish at first, but as she took on the queen's dignity and suffered the threats of her brother, she became more sympathetic.
Baritone David Stoneman was a strong singer and actor as Achillas, an Egyptian general. With an intense, dark tone, he had the threat of a sinister snake, moving in and out of the plot's conflicts. His ornaments and fast passages were unusually clean for such a powerful voice.
Mezzo-soprano Malin Fritz played Pompey's grieving widow with a tension that did not ease until the resolution of the final scene. To express her torment, she generally pushed her voice to its limits.
The group of supers were used effectively by stage director Lillian Garrett-Groag, adding to the visual impact in many ways. In one memorable moment, they appeared as animals and huntsmen, a symbolic enactment of the aria that was being sung.
The characters were moved around the stage in simple but purposeful motion, supporting but not distracting from the music.
Similarly, the set design of John Conklin had few actual pieces, but they were effectively used. The hanging pieces, mostly symbolic shapes, were coupled with a flexible backdrop arrangement to create a new ``scene'' for each change in the drama. Many triangles represented the pyramids, the tombs of Egyptian rulers, while a sphinx sometimes appeared to look on from above.
The changing colors of Robert Wierzel's lighting, both on stage and on the backdrops, became associated with different emotions. All of these details, worked out by the director, gave the viewer a subconscious understanding of the story that went well beyond its words and notes.
Mark drew from the small orchestra fine clarity and strong rhythm. The oboes and horns colored the basic string sound, on a few occasions covering it a little. Some of the nuances of Baroque playing were overlooked in favor of energetic tempos and a bouncing quality that brought the music to life.
And that is no small accomplishment for a company's first performance of this music. ILLUSTRATION: Graphic
OPERA REVIEW
Handel's ``Julius Caesar'' at the Harrison Opera House in Norfolk
on Friday evening.
Remaining performances: 2:30 p.m. today and Feb. 9; 7:30 p.m.
Feb. 5; 8 p.m. Feb. 7. Call 623-1223.