ARTS . Opera

Beethoven Behind Bars

Fidelio


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Published: Oct 14, 2008

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The Opera Company of Philadelphia has begun its season with Beethoven's Fidelio, the most visually striking production in its recent history. I rarely start reviews with sets and costumes, but artist Jun Kaneko's designs for both are spectacular, with brilliant color (not a common element in this prison-set opera) and fascinating, abstract geometrical shapes used as projected and constructed set elements. Visuals have rarely been OCP's strength, but this is unforgettable design.

Fidelio — an ever-timely work celebrating the victory of individual courage over systematic, corrupt oppression — is sublime stuff musically, with several numbers so beautiful and stirring that you may find yourself welling up. It's not all Big Moral Statements — there is humor, romance and suspense as well, since the leading character (Leonore) is impersonating a guy ("Fidelio") and flirting nervously with the chief jailor's daughter (Marzelline) in order to rescue her unjustly imprisoned husband, Florestan. Corrado Rovaris conducted with aplomb and dispatch; a few brass bobbles reminded us it was opening night.

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So did a few sharp or over-vibratoed moments in Christine Goerke's admirable Leonore, but this marathon part is a bear. This ringing dramatic soprano can still sing softly and execute precise vocal filigree. Goerke's dramatic commitment, insightful phrasing and often thrilling vocalism earned cheers, while most cast members made strong company debuts. Anthony Dean Griffey's lyric tenor brought artistry and spiritual conviction to Florestan; Greer Grimsley, suitable machismo and the needed tonal snarl to Pizarro; and Ailyn Pérez, lovely presence and gorgeously focused sound (if fuzzy German) to Marzelline. Stephen Morscheck, light-voiced but musical, valiantly jumped in for an ailing Julian Rodescu as Rocco, the jailor; as his other assistant, Jacquino, Brian Anderson performed stylishly.

A few objections: The upside-down, eventually bleeding head projected during Pizarro's fierce aria should be deleted (the only other figurative elements in the set are two eyes, apt symbols in a work so concerned with specularity). The dungeon scene is just too bright, obviating credible mistaken identities; that, and a slackening in Robert Driver's generally sound direction, reduces the needed dramatic tension. I might rethink the Mamma Mia!-style women's chorus costumes, but otherwise the finale proved as rousing and moving as this masterpiece deserves.

(d_shengold@citypaper.net)

Fidelio | Through Oct. 24, $7-$210, Opera Company of Philadelphia at the Academy of Music, 240 S. Broad St., 215-893-1999, operaphila.org