THE theatrical potential of the opera scenes at Wexford Festival has been improved by the installation of a large, purpose-built stage that allows the director to use a variety of levels and angled acting areas, albeit at the cost of some noisy scene-changing.
For all that it is episodic to start with, Mozart's opera, Die Zauberflote, doesn't cut down successfully. The loss of the full expanse of the act 1 finale is particularly sad. But what we do get is deftly directed by Alessandra Milano and there are some visually beautiful moments. Declan Kelly and Sarah Jane Dale's youthful Tamino and Pamina are sweetly sung; Jacquelyn Parker tackles the Queen of Night's arias fearlessly; and there is a good trio of ladies. Best of all is the warm baritone of Michael Dewis as the bird catcher.
Director Patrick Mailer opts for longer stretches of action in Stravinsky's 1951 Hogarth-inspired opera, The Rake's Progress. These are grippingly performed by a trio of strong actor-singers: tenor John Mars den as Tom Rakewell, Ljuba Chuchrova as Anne Trulove and Darron Moore as the devilish Nick Shadow. There is also a good cameo performance of Baba, the bearded lady, by Joanna Campion.
Puccini's one-act comic masterpiece, Gianni Schicchi, is short enough to escape editing. With most of the musical interest concentrated on ensemble, here very well executed, there isn't a lot of solo work. In this department, the two lovers didn't do much with their famous arias, but Massimiliano Gagliardo was a tower of strength in the title role.
Sunday morning's concert, meanwhile, was devoted to 20th century Italian songs. Easy as these were on the ear, there was more musical meat in the other items, two mini collections by Respighi and one song each by Renzo Bossi and Giorgio Ghedini.
Three Italian singers shared the programme. Luigi Pet roni's light tenor took time to warm up; when it did he treated us to some lyrically expansive singing and whatever vocal colouring his limited range of tone allowed. Giuseppina Piunti's forthright mezzo-soprano was at first given out too generously, but in Respighi's Tuscan songs she varied her dynamics admirably. The best performance of all came from Carlo Lepore, whose way of colouring his fine bass voice was delightful.
All of these Scenes will run again during the Wexford Festival. Phone 053-22240
