PSU Opera always surprises me with the high quality of its productions and the skill of its young singers, many of them undergraduates. This is not professional opera (though advisors and directors are professionals), but it can reach impressive heights, and does in this double bill of two very different, very short Giacomo Puccini one-acts.
The first is a sentimental tragedy that takes place in a convent’s courtyard; the second is a better known opera buffo crowded into a Florentine bedroom. The operas, each about 40 minutes, are expansive and efficient: They provide numerous roles for up-and-coming singers and designer Carey Wong’s clever set is deployed for both operas – an outside setting for Suor Angelica and an inside one for Gianni Schicci.
Sung in Italian with English supertitles, the performance continues April 25-30 at PSU’s Lincoln Performance Hall.
Puccini wrote the operas with librettist Giovacchino Forzano in 1917-1918 and they were first performed with a third, Il Tabarro, at the Met in 1918. Like many opera composers, Puccini has a thing for vulnerable tragic heroines (think Cio-Cio San in Butterfly, La Boheme’s Mimi, etc.) and for sucking us into their dilemmas. But so what? Opera is about excess.
Sister Angelica was shuttled off to the convent seven years earlier for having an illegitimate child. Her haughty aunt, the Princess, sung and acted with requisite harshness by mezzo Grace Skinner, visits the convent and tells Angelica that her son has died. Devastated, Sister Angelica decides to kill herself – and does. At the end, there is a scene with Giotto-tinged-blue skies, floating clouds, and a Madonna in swirling white garb. The Madonna greets Angelica, and Angelica’s son joins her as she enters the pearly gates.
OK. It’s corny. It’s Puccini with a penchant for the syrupy, the over-the-top dramatic, the hopeless moments tinged with hope. But that’s our beloved Puccini.
As Sister Angelica, soprano Saori Erickson throws every inch of herself into Suor Angelica’s only aria, “Senza Mamma,” a fierce lament and love song to her dead child, Erickson makes the final part of the opera soar and fill Lincoln Hall with the help of a very competent student orchestra led by Ken Selden.
Erickson is a gifted singer mentored by professional soprano Pamela South, who has sung her share of Puccini roles with major opera companies. South’s other high-profile pupil of the night, soprano Hope McCaffrey, sings Lauretta in Gianni, the evening’s second opera. She shows her pipes and poise with the oft sung “O Mio Babbino Caro.” McCaffrey sings a bold and touching rendition of the popular aria, but her small role doesn’t dominate Gianni as Sister Angelica does the first tragic opera.
South is doing something right. These women seem to be going places. In 2016, Erickson won the “audience favorite” award at the Metropolitan Opera National Council Auditions and several others over recent years.
Gianni is crowded and crazy with a big cast who portrays the disorganized family of the dying Buoso, a rich uncle of this greedy brood. The handsome Rinuccio (tenor Alex Trull) cooks up the plan to introduce the arrivist Gianni Schicchi to his family to solve the problems with the uncle’s will – Buoso has left everything to the friars – if he, Rinuccio, is allowed to marry Gianni’s daughter, the lovely Lauretta. When the arrivist arrives, he puts everything in motion, replacing the uncle on his deathbed and dictating a new will to the notary, where of course, Gianni ends up with the cream of the wealth.
The zany family’s antics zigzag over the stage and they’re funny, especially those of Shainy Manuel who sings bawdy bewigged redhead Zita. She wriggles her red-ruffled rear at the audience at crucial moments; she has excellent timing.
The music and libretto are sublimely matched in hilariousness, and baritone Darian Hutchinson, who sings Gianni with flair, puts the glue into this opera. Hutchinson graduates this spring from PSU’s music program; this is his sixth PSU role (he sang Figaro and the mayor in Doctor Miracle, among others). He has a future in opera if he wants to grab it.
The ensemble singing is roaring fun with each of the cast members staying in distinctive character. Some critics claim that Puccini lost an opportunity when he never produced a full-length comic opera with such an excellent piece like Gianni showcasing his proclivity for the ridiculous.
Be sure you stick around for both operas. PSU’s singers, instrumentalists and music faculty should feel pretty proud about producing this level of Puccini.