Blind Ambition

Iolanta ends in triumph.

by David Shengold

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Commentators often condescend to Tchaikovsky's ultra-romantic final opera, Iolanta, a tuneful story of a medieval blind princess whose faith in love wins her sight. Ironically — given its fairy-tale trappings — few operas deal so openly with questions of what it means to grow up, awaken to sexuality and learn to trust someone. There's Dvorák's tragic Rusalka; but Iolanta ends in triumph — as did this concert production, propulsively led by Rossen Milanov, whose fine forces brought out the score's many felicitous details of orchestration.

Amanda Majeski (Iolanta), a lyric soprano with reserves of power, fine dynamic control and an expressive sound, proved excellent as both actress and singer. Rising tenor Dominic Armstrong (Vaudémont, Iolanta's suitor and the first person to tell her she's blind) was suffering from severe allergies, which passing problems in intonation and voice production confirmed. Yet he phrased with admirable musicality, often singing very well. Everyone involved evidenced vocal talent, especially the sonorous women's quartet: Tammy Coil, Ashley Thouret, and two particularly starry sopranos, Karen Jesse and Allison Sanders.

Having a strong orchestra onstage behind them — instead of in the pit — challenged some still-developing voices, since Tchaikovsky asks for expansive phrases at emotional climaxes. Evan Hughes (King René, the heroine's father), Adrian Kramer (Robert, her arranged fiancé) and Marquita Raley (her nurse) all need to learn how to walk and stand onstage with greater expressive maturity, yet all three exhibited clear virtues. At unpressured moments Hughes showed a warm lyric bass, singing René's world-weary music with considerable feeling. Kramer's baritone offered focus and admirable ease on high, and Raley displayed quite a deep, lovely sound, in need only of greater projection. Thomas Shivone seemed decades too young for the grizzled gatekeeper he portrayed, but a substantial, rangy bass-baritone gestates there. In Joshua Stewart, playing a small "messenger" role, Curtis is nurturing another potential star-quality tenor, clear and free. As a Moorish doctor (an intriguing character part), Allen Boxer fielded a good bass-baritone, not especially individual in timbre but beautifully produced. What's exceptional is Boxer's alert presence and seeming mastery of expressive and musical detail: a performer with a future.

(d_shengold@citypaper.net)

Iolanta May 9, Curtis Opera Theatre at the Prince Music Theater