2006 – 2007 Season
Reviews
Opera Idaho’s ‘The Barber of Seville’
Morrison Center 11.05.06
By Dana Oland, Idaho Statesman
Opera Idaho opened its season with a stellar production of Rossini’s “The Barber of Seville” to a delighted nearly sold-out house at the Velma V. Morrison Center on Saturday.
From the first strains of the overture, the audience began to titter and giggle. Thank you, Chuck Jones. The credit for the success of this production lies with David Cox’s character-driven direction and the golden rule of theater of any sort: casting, casting,casting.
This stunning cast of mostly out-of-town artists Roberto Gomez (Figaro), Lindsey Falduto (Rosina), Ross Hauck (Count), Carlos Monzon (Dr. Basillo) and Joseph Rawley (Bartolo) oozed chemistry, technique and talent.
They each appeared to relish and revel in every moment the opera offers for laughs and lyric beauty. It was hard to pick a standout because they were all so good. Monzon was delightfully evil, funny and animated as Basillo, with a rich baritone that made me think, “Please bring him back.” Falduto was a beautifully exotic and perfectly willful Rosina. Her voice trilled and thrilled, and she showed a great feel for comic timing.
Gomez made a dashing and flawless Figaro, tackling his signature difficult, tongue-twisting arias effortlessly. He and Hauck as Count Almaviva were a perfect comic pair (and Hauck’s lyric tenor was a treat). Rawley was terrifically funny and bumbling as Bartolo.
Topped off with lively vocals and strong character work from the Opera Idaho chorus and excellent playing by the orchestra under Bryan J. Nies baton, the production was everything “Barber” should be and more.
Opera hits high note with ‘Traviata’
Opera Review
“La Traviata”
Opera Idaho
Oct. 8
Guest review by Mike Winter
Special to The Idaho Statesman
When soprano Leslie Mauldin released Violetta’s dying cry of joy and the curtain came down on Opera Idaho’s “La Traviata,” it set a new standard of professionalism for the company.
The quality that audiences have come to expect from Boise’s anchor performing arts groups, was achieved by the opera as well. The performance ranked in the top two or three of the past 23 years. Opera Idaho has come through a transition year of complete artistic and administrative overhaul with a clear direction and singing like a lark.
Mauldin shined in the title role. The lead role in Giuseppe Verdi’s “La Traviata” is among the most difficult in the repertoire. Mauldin met each dramatic and vocal challenge with consummate ease, delivering an optional high E-flat after a series og high C’s, as if she’d been performing the role for years. In fact, this was her first time.
David Malis, who made his Idaho directorial debut, which was superb, directed and performed in “La Traviata.”
Malis, who has sung at the Metropolitan Opera in New York City, had the cast and chorus in stunning costumes, moving fluidly and naturalistically on stage that sparkled with striking sets.
Malis’ resonant bass-baritone was added bonus, filling the hall with conviction and delicacy as the father. As his son, and Violetta’s lover Alfredo, Nicholas Copollo was handsome, youthful yet vocally mature and made an impressive debut. His wife, Lindsey Falduto, was dynamic as Flora.
Conductor Michael Borowitz had the Boise Philharmonic playing at its joyful best. Local vocalists Jim Poston, Willis carr, Joe Dewey, Alan Gardner and Sandra Schmidt filled out the cast admirably.
The Opera chorus deserves highest praise, as over the years these dedicated volunteers have proven to be a most reliably excellent element. John Mauldin, Leslie Mauldin’s brother and a very fine tenor, made his debut as chorus master.
J.R. and Esther Simplot were honored from the stage with the Morrison Center’s Gold Medallion Award to acknowledge their contribution to Idaho’s arts over the years.
If the company can maintain this level in the future, Opera in Idaho will continue this exciting new path, and that’s something to sing about.
Mike Winter is a freelance classical music writer who has written for publications locally and nationally and on music Web sites.
