• Colorado

    by Published on July 20th, 2012 10:32 PM
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    Some operas can only have been written by a specific composer. One can speculate on what a Donizetti ...
    by Published on July 10th, 2012 05:13 AM

    Months have passed since the last professional opera production in the Denver area and seemingly as ...
    by Published on April 30th, 2012 05:19 PM
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    All pictures courtesy of Opera Colorado

    Il Trovatore is often presented in a semi-staged production and it's easy to see why – the demands of the opera include numerous settings, a very active chorus, and singers who must have a compelling stage presence to convey the belivability of one of opera's less likely librettos. Opera Colorado forgoes the notion of doing it halfway and valienty presents a Trovatore that hits far more often than it misses.

    Although there is a single set for the four acts, lighting is used effectively to alter the dimensions and feel, with a gypsy camp and a prison believably conveyed. As the opera opens, the Ferrando (Wayne Tigges) narrates a bit of necessary backstory in his aria Di due figli vivea beato. Mr. Tigges sounds much more comfortable in the higher end of the aria's tessitura where his voice is full and lovely but roughens a bit towards the lower reaches. Pacing around, he sings with appreciable intensity as he relates the story of a gypsy put to death for the bewitching of the Count di Luna's younger brother.

    Speaking of which, the Conte di Luna (Robert Hyman) is a baritone with a round and deep sound. Mr. Hyman sounds (and in his makeup looks) a bit like French baritone Laurent Naouri. Mr. Hyman particularly shines in the Act 1 duel, with some gorgeously floated lines. Fully invested in his lines, he delivers them with gusto and makes it look easy.
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