Two More Performances of Classic Rarity Remain to Be Given at the CAPA
By GEORGE B. PAROUS
Pittsburgh Opera is currently giving its production of Christoph Willibald Gluck’s Iphigénie en Tauride, a work first heard at the Paris Opéra on May 18, 1779. It was immensely popular in Paris for some years, but never gained much future traction elsewhere, even when translated into German or Italian. Revivals have been sporadic, and this production is a Pittsburgh first. The music doesn’t deserve neglect, and we are lucky to have an opera company with a Resident Artist program, a first-rate conductor, and the use of the CAPA theater to allow the production of such works for the smaller number of music-lovers who want to see and hear such operas performed. We’re very lucky indeed.
And such singers to be found in the Resident Artist program. Just over the last decade or so, many much-gifted sopranos have come and gone, talented all, but Emily Richter is perhaps the most astonishing of them. She’s the real deal and has it all. A gloriously pure, powerful soprano voice, always under her control, is matched with no little dramatic ability. Her tones ring out, squarely placed, like a golden bell, with plenty of volume and clarity that are quite thrilling. Her voice is fine in all registers, and her breathing technique allows her to send the highest fortissimo to the softest pianissimo sailing out over her audiences. It also allows her to sing true legato; one phrase melts seamlessly into the next. A part such as Iphigénie suits her talents to a tee, and she sings it brilliantly. We’ve also been lucky in that we’ve had the pleasure of watching this star be born.
Emily Richter as Iphigenie
Julia Swan Laird is another soprano who has done a great deal of charming singing in Pittsburgh. In the present production of Iphigénie en Tauride she has the parts of the Diana/Greek woman. She, too, has an extensive resume and has been heard in four of last season’s six productions, and while her first appearance this season was the opening night of the present production, she’ll also be in the casts of the company’s upcoming Proving Up and La Traviata. Her performances add much to the productions in which she appears – and Iphigénie en Tauride is no exception. In the mezzo-soprano department, we’ve been fortunate to have Jazmine Olwalia. Her voice is rich and warm, and we’ve heard her in such diverse operas as The Marriage of Figaro, Rusalka, Ariodante, Denis & Katya – and she will appear in the upcoming Pittsburgh Opera productions of Proving Up and The Passion of Mary Cardwell Dawson. She sings the part of the Priestess very well, and Iphigénie en Tauride will be an impressive addition to her bucket list
Greeks and Scythians battle
Baritone Brandon Bell sings and acts the role of the beleaguered, matricidal Oreste in Iphigénie en Tauride, and has done both rather well with a role taken sometimes by tenors, sometimes by baritones. He sings with much warmth and steadiness of tone, and with neatly phrased, clear diction. Bass Evan Lazdowski sings and acts the role of the unfortunate Thoas, King of Scythia. He has a deep, sonorous bass voice which he is able to use in song – bass song that rolls off the stage and into the audience to the last row.
The Priestesses hold Oreste (Brandon Bell) for sacrifice by Iphigenie (Emily Richter, holding knife)
Fran Daniel Laucerica, tenor, is a newcomer here, with a massive resume to flash. He is singing the role of Pylade in the current production and has made a good first impression. Opera News has named him “a very promising high tenor.” We’re seeing some of their enthusiasm, and will surely see more in the upcoming casts in which he will be a part.
Pylade (Fran Daniel Laucerica) is brought forth by Scythian guards Mason Dowd (left) and Andy Hickly (right)
The opera is handsomely directed and staged, with fine lighting and choreography. Antony Walker and the orchestra, as can always be assumed, are making for a beautiful musical accompaniment. Pittsburgh Opera is serving up another winner, one that all music lovers should try. Two performances remain – this Friday evening and Sunday afternoon.
The Artistic Team for Iphigénie en Tauride –
Conductor, Antony Walker; Stage Director, HaleyStamats; Set Designer,Johnmichael Bohach;
Costume Designer, Laura Riviere; Lighting & Projection Designer, Tláloc López-Watermann; Stage Manager, Virginia Tipps; Assistant Conductor, Glenn Lewis; Director of Musical Studies, Mark Trawka; Associate Coach/Pianist, James Lesniak; Assistant Stage Manager: Claire Young
TICKETS AND DETAILS
For more performance information and tickets plase visit https://www.pittsburghopera.org/season/iphigenie-en-tauride/
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