RECOMMENDED
Lyric Opera followed their season-opening mounting of Cherubini’s “Medea” with a revival of the classic Elijah Moshinsky stagings of Mascagni’s “Cavalleria rusticana” and Leoncavallo’s “Pagliacci” on November 1. This double production first bowed at Lyric in 2002 and was last revived in 2009, over fifteen years ago. It was worth the wait.
Moshinsky’s original direction was deftly recreated by revival director Peter McClintock. The visuals by set and costume designer Michael Yeargan remain a treat for the eye. Yeargan’s naturalistic depiction of the nineteenth-century provincial town square called for in the Mascagni is earthily gritty and beautifully done. Lighting designer Duane Schuler washed the space with warm Sicilian sunshine. “Pagliacci” was moved forward in time to post-war Italy, which initially seemed a bit dreary with its touches of graffiti on utilitarian buildings that had seen better days. Once the clown Canio’s troupe arrived and dotted it all with glitzy trappings, however, the milieu fielded a juxtaposition of escapist fantasy and stark reality that framed the psychological dynamics of this piece most perceptively.
“Cavalleria” was graced by two important company debuts in the leading roles. Mezzo-soprano Yulia Matochkina delivered a heartbreaking account of the rejected peasant girl Santuzza. Her sound was ample and ringing on high yet commanded impressive chest resonance for the impulsive curse that sets the work’s tragedy in motion. Tenor SeokJong Baek, her Turiddu, was really something to hear. Baek sang throughout with a ravishing tone and what appeared to be endless reserves of power. The Brindisi “Viva il vino spumeggiante” was buoyantly managed, and the anguish in his final scene was palpable. Baritone Quinn Kelsey’s Alfio was loaded with smarmy confidence and vocal velvet. It was a delight to welcome contralto Lauren Decker back to Lyric’s stage with her pungently intoned Mamma Lucia. Camille Robles had a lot of fun with Lola’s trampy little ditty.
The musical pleasures continued in “Pagliacci.” Kelsey traded in his “Cavalleria” small-town mob boss for a splendid portrait of the vindictive clown Tonio and delivered the famous “Prologue” with possibly the most aural allure heard in this music at Lyric since Cornell MacNeil decades ago. Russell Thomas earned our respect with a powerhouse Canio that was fully and scrupulously sung without resorting to the sobs and barks so many rely on in this role. There was a stunning Nedda from Gabriella Reyes. The young soprano easily filled Lyric’s huge space with reams of glowing sound yet tossed off the trills in the famous ballatella with teasing ease. Baritone Luke Sutliff scored a notable Lyric debut with his randy Silvio—Sutliff’s extended duet with Reyes was filled with erotic tension. Daniel Luis Espinal essayed a delightful, fluidly lyrical Beppe.
Special kudos are due to the banner chorus under director Michael Black. The “Cavalleria” Easter hymn was gorgeous, and one of the great pleasures of the evening. Lyric’s music director, Enrique Mazzola, led his responsive orchestra through a briskly-paced, idiomatic account of both scores.
“Cavalleria rusticana & Pagliacci” runs through November 23 at Lyric Opera House, 20 North Wacker (entrance on Madison). For tickets and more information, visit lyricopera.org.
Disclosure: Mark Thomas Ketterson wrote program notes on these operas for the Lyric Opera’s 2008/2009 season, when they were last performed. They were republished in the current program.
