Stylish Barber

Vanessa

Curtis Institute of Music Opera Theatre at the Prince Music Theatre, April 26-29

Samuel Barber’s 1958 opera Vanessa received some rare performances this past weekend by the Curtis Institute Opera Theatre. What with Porgy and Bess in town at the same time, it was encouraging on Friday evening to see a good-sized audience for Barber, too. And it really is a good opera.

Because it was presented in a concert version, with the amazing Curtis Orchestra on stage and the singers ranged across the front, we could really hear Barber’s terrific orchestral music. He employs a huge late romantic orchestra with refinement and color, using side drum, gong and the whole Mahlerian apparatus.

The conductor, redoubtable Scots-born Ian Robertson, found the vein of Barber lyricism we knew must be there, and the young Curtis geniuses just blew it away. There are many solo instrumental moments in the musical fabric, and the maestro signaled his approval of individual players during the applause.

This orchestra might have overwhelmed lesser singers, but they held their own. Our Vanessa on Friday, Joslin Romphf, warmed up soon into the music, and her high, focused tone was just right for the role of a woman waiting for the return of the lover who abandoned her many years before. Jason Collins sang the role of Anatol — the son of Vanessa’s love — with complete assurance, adding a cynical edge to his characterization. The doctor, well sung by Robert Pomakov, bumbled around as if tipsy, adding some slight comic relief. As usual, Meredith Arwady was just fine as the aged baroness, the stoic and threatening mother of Vanessa.

This dark drama has its center in the figure of Erika, Vanessa’s niece, who falls in love (as does her aunt) with young Anatol. No production can hope to succeed without an artist who can combine the emotional weight of the role with vocal strength. Karen Caspi was superb, singing gloriously while maintaining a dramatically convincing emotional poise. The libretto, adapted by Gian Carlo Menotti from stories of Isak Dinesen, has a slightly dated Gothic atmosphere, well-suited to Barber’s nostalgic romanticism, with its sense of loss and yearning.

Praise too, for the fine ensemble singing in the great closing quintet. Barber is really a fine composer — from West Chester, PA, remember — and this performance may help to give renewed life to one of his best pieces.

—Lou Camp