Opera Maine

"I love Opera Maine productions. Several years ago they did the best Carmen that I've ever seen."

"Opera Maine (formerly Port-Opera) continues to bring world-class performances to the northern New England area. This year's production of W. A. Mozart's The Marriage of Figaro (seen July 27 at Portland's Merrill Auditorium) was no exception. The ongoing excellence that director Dona D. Vaughn brings to Opera Maine's productions is a testament to the work of the staff, from the pre-opera seminar presented by Executive Director Caroline Musica Koelker to the precise, tender touch of the baton of returning Conductor Stephen Lord. The beauty of Opera Maine's productions lay directly where they should, in the music itself. The richness of Mozart's compositional mastery was represented in perfect balance between the orchestra and singers throughout the performance, each complimenting the other to move the story forward at a brisk pace over the three hour performance. The cast was exceptional across the board. Richard Mellon's Figaro towered across emotions of panic, delight and betrayal with a perfect blend of stage business that supported the comic bliss of Lorenzo DaPonte's libretto without being a distraction. Mellon's Susanna, soprano Maeve Hoglund, was equally adept at representing the emotional intimacy of her entangled relationships. Hoglund's instrument was solid throughout and excelled in the lower ranges. Baritone Keith Phares and soprano Danielle Pastin brought their experience to the fore as Count & Countess Almaviva. Pastin's creamy soprano and seemingly effortless breath control really shined in the "Dove sono" passage in Act 3. Her "che soave zeffiretto" duet with Hoglund's Susanna was the highpoint of the performance for me, one of many standout moments. Kevin Glavin produced a lively, thick bass and dramatic foil for his Marcellina of mezzo-soprano MaryAnn McCormick, both of whom shined in character and voice, especially in the discovery of their parentage of Figaro and the remarkable sextet "Riconosci in questo amplesso" that follows. Soprano Yi Wang (Barbarina), baritone Scott Wheatley (Antonio) and tenors Robert Brubaker (Don Basilio) and Virgil Bozeman (Don Curzio) all contributed to support the emotional harmonies of the work, as did the twenty other singers presenting as the chorus & bridesmaids. The longest and loudest acclaim from the Merrill audience was reserved for the debut performance of the 2018 Metropolitan Opera National Council Audition winner, mezzo-soprano Hongni Wu, who gleamed in the trouser and dress roles of the hormonally raging Cherubino. From her first opening notes of "Non so piu" you could sense that her remarkable voice is destined to fill the halls of opera houses worldwide. Her portrayal of Cherubino covered so many emotions both in her vocal and acting talents. Brava! As is the case with most Opera Maine productions, Hongni Wu is a rising star that the attendees of Opera Maine get to see first. Steven Lord led the orchestra and long time accompanist Timothy Steele on the harpsichord beautifully, bringing their substantial talents out of the pit with the nuance, attack and flourish to satisfy any demanding Mozart aficionado. This wonderful production was presented on a stage familiar to Opera Maine attendees. The work of Christopher Akerlind (sets & lighting), Millie Hiibel (costumes) and Sondra Nottingham (hair and makeup) never upstaged the music, but rather enhanced the flow and delight of the composition so often missing in modern productions. Opera Maine is entering its 25th season, and along with ongoing collaborative partnerships with area arts and educational organizations presents several opera related performances and functions yearly. I look forward to the 2019 production of another Mozart classic, The Magic Flute. Chris Saulnier Mechanic Falls, Maine"