Kudos to Virginia Opera conductor for fine 'Il Trovatore'

By Paul Sayegh

Peter Mark led his 100th Virginia Opera production on Friday evening at the Harrison Opera House, opening the company's 34th season with Giuseppe Verdi's "Il Trovatore."

Mark, who will conduct his 700th performance with the company during the run of this opera, was honored in a brief ceremony at the start of the evening, which included a rousing rendition of the national anthem.

"Il Trovatore" is Verdi's most melodramatic score. Its story, which opera fans love to poke fun at, is full of curses, mistaken identities and passions run wild. It is one of the Italian composer's most potent operas, with lusty choruses, passionate arias and rousing ensembles.

Mark led an energetic, even raw performance that conveyed the dark passions of the opera. Overall this was a disciplined reading that carried the opera despite some less than first-rate singing.

Vocal honors were divided between mezzo-soprano Jeniece Golbourne and tenor Gustavo Lopez Manzitti. As Azucena, Golbourne commanded the stage and used her voice in a compelling portrait of an old gypsy woman driven by madness and revenge. Golbourne revealed a voice worth hearing again.

Manzitti was Manrico, the trovatore (troubadour) of the title. This is a part with which Italian tenors are measured, and it requires both lyric and dramatic singing. Manzitti mustered some of both. Baritone Nmon Ford sang Di Luna, Manrico's rival for the love of the lady Leonora.

Ford has an impressive voice that is powerful, dark and commanding. Di Luna's music was forcefully sung, but it was delivered in a loud, almost hectoring manner that became less attractive as the night wore on..

With her opening phrases, soprano Eilana Lappalainen revealed that she was not suited to the role of Leonora. Her voice was worn and tremulous, with shaky high notes and a labored quality in general. She showed an understanding of the music in her phrasing, but at least on this occasion, her voice refused to cooperate. Ashraf Sewaillam sang with a solid bass voice and acted the part of Di Luna's faithful retainer Ferrando well.

Lillian Groag directed the new production, which successfully brought out the work's somber intensity and largely clarified the occasionally confusing plot. Michael Ganio's simple sets and Richard Winkler's lighting helped to keep the opera's forward momentum.

Paul Sayegh can be contacted at psmusic@cox.net.