June 14, 2008
UNA COSA RARA
Figuratively Opera Theatre St. Louis has rolled up its sleeves, kicked back with its feet up on a chair and had a few drinks. The company has lightened things up substantially with their completely over-the-top romp production of Martin y Soler’s “Una Cosa Rara,” an opera that tore up Vienna when it debuted in 1786.
Based on a 'La luna de la sierra,' a play by Luis Vélez de Guevara, “Una Cosa Rara” centers on a small village in Spain whose quiet peace is interrupted by a visit from Queen Isabella and her retinue.
Lilla is a stunning shepherdess faithful to the last to her lover, the Shepherd Lubino. Her beauty has won the attention of Giovanni, the Prince of Spain who spends the entire production pining and scheming for her affections. Unfortunately for Lilla, her brother Tita has promised her hand to the town Mayor.
Ghita, the fiancée of Tita, is in the same boat as Lilla, as she fends off the advances of Lisargo the village Mayor and Corrado, the valet to the Queen. The tension gets down and dirty as Corrado and Giovanni intensify their interest in Lilla and Ghita, drawing ire, suspicion from their lovers, and complicating their once solid relationships. Things reach an emotional crescendo in the second act when all of the parties confront each other. Thankfully the intervention of the Queen sets everyone straight and allows everyone to live happily ever after.
More slapstick comedy than proper opera, “Una Cosa Rara” is a frothy and frilly production that takes the piss out of the stoic narrative of Solar's original opera, replacing it with a more comedic translation courtesy of Washington University's Hugh McDonald. McDonald and Stage Director Chas Rader-Shieberz take the starch out of “Una Cosa Rara” and never relent as they let the cast play their roles completely off kilter. The set itself is festooned with fuchsia, flamingos and fake flora and fauna, all flying in the face of traditional opera set design by being excessively gaudy and bright.
One traditional aspect of the opera left intact is the score. Soler's wonderful music is one of opera's rare treasures. It is in a small group of operatic music that can be enjoyed away from a real production. It is wonderfully conducted here by Corrado Rovaris in his OTSL debut.
This may be the best ensemble of the season. The cast is tight, and they genuinely appear to be having fun on stage. Matthew Burns and Keith Phares (as Tita and Lubino respectively) work well together. Their interaction is essential to keeping the production together and goes a long way to ratcheting up the tension in the plot. The female leads, Maureen McKay and Kiera Duffy (Lilla and Ghita) also work in sync. Their musical duets are terrific and they excel at playing it straight against the lumbering physical comedy of the production. They are a dynamic tandem on stage.
Paul Appleby brings a dark buffoonery to Corrado, complemented by tenor Alek Shrader’s very Bowie take on Giovanni. Shrader’s preening and prancing oftentimes supercede his wonderful voice. David Kravitz was last seen at OTSL in last season’s “The Mikado.” His delightfully subtle performance as Lisargo, the Mayor, helps keep the opera together when things on stage go way over the top.
But it is Mary Wilson (Queen Isabella) who steals the show. While she is on stage she springs into the story like a thunderbolt, melding the best elements of physical comedy with her outstanding soprano voice.
Coming in at just under three hours, “Una Cosa Rara” wins over the audience with its humor, outstanding performances and amazing musical accompaniment. It is a nice breather from the more traditional, tragic and tense offerings from the Opera Theatre St. Louis repertoire this season.
Performances of “Una Cosa Rosa:”
SUNDAY, JUNE 8, 7PM
THURSDAY, JUNE 12, 8PM
SATURDAY, JUNE 14, 8PM
WEDNESDAY, JUNE18, 8PM
FRIDAY, JUNE 20, 8PM
www.experienceopera.org
-Rob Levy