LA CENERENTOLA, Rossini. Presented by The Opera School of the SA College of Music, with Ané Sophia, Lunga Halam, Ipeleng Kgatle, Jacobi de Villiers, Martin Mkhize, Bongani Kubheka, George Stevens. Conducted by Jochen Rieder. Directed by Claudia Blersch. At the Baxter Theatre.
DEON IRISH reviews
This semi-staged, concert version of Rossini’s splendid comic opera based on the Cinderella fairy tale proved an absolute joy on every level.
I haven’t experienced a live production of this opera since Capab’s 1984 staging of the Ponnelle production, with Marilyn Bennett in the title role and Karl Dumphart as Don Magnifico.
Which made this performance – even in a relatively low-key concert version – all the more immediately vibrant. Dersch’s staging was highly effective: the male chorus up behind the stage on the organ level; the orchestra and conductor plumb in the middle of the stage; and the action taking place up front and on either side.
Splendid ensemble achieved
Certainly this taut arrangement of participants would have contributed in no little measure to the quite splendid ensemble achieved between all participants throughout the performance; for, even when singers had their backs to the conductor and orchestra, the sheer immediacy of sound would have assisted in this regard.
But, in point of fact, it is the conductor and orchestra who deserve the greatest accolades for this performance. I do not believe I have heard a better realization of a Rossini score in this country than this reading by German conductor Jochen Rieder. The fact that he achieved this with an almost entirely student orchestra was the more astonishing.
It wasn’t just that the ensemble was so crisply secure – even in the most bewildering set-pieces, like the extraordinarily busy septet Zitto, zitto that concludes Act I; or the marvellous comic sextet of the second act, with its pulsing and relentless staccati.
The really impressive feature was the underlying sense of relaxation in execution achieved in even the busiest passages, with a winning and stylish delicacy coupled with praiseworthy intonation. The young orchestra members had no doubt many hours of rehearsal and careful tuition to thank for this; but, ultimately, the notes were theirs to deliver and deliver they certainly did!
A joy throughout
In the title role, Sophia gave an entirely credible account of what is an extremely taxing mezzo coloratura role – even if her voice comes across as more soprano than truly mezzo. Opposite her, Halam was an engaging (and very handsome) Prince Charming, although a couple of the notes in the highest register were slightly suspect.
As the “ugly sisters”, Kgatle and De Villiers made an amusing pair, the latter – in particular – demonstrating neat comic timing. Mkhize lent his considerable statue to the role of Dandini and Kubheka continues to impress as an actor-singer of burgeoning talent. Bringing up the trio of male roles was Stevens, the acting Director of the Opera School, whose Alidoro testified to many years of stage experience.
The men’s chorus (trained by Kurt Haupt) performed with verve and the staging – unfussily costumed and succinctly managed – was a credit to director Blersch’s eye for attention to comic detail.
To repeat: an evening that was a joy throughout.
What: La Cenerentola
Who: Opera School of the SA College of Music, Cape Town
WS
