Rossini: La Donna del Lago - Bel Canto at
Caramoor
by Philip Anson
The magical gardens and theatre of the Caramoor Center for Music
and the Arts in Katonah, New York, is an ideal location for an
undertaking such as the Bel Canto at Caramoor project, launched on
July 19 with a concert performance of Rossini's La Donna del
Lago. This new endeavour is the brainchild of Will Crutchfield
whose similar Handel Project at the Manhattan School of Music has
entertained (and frustrated) us for several years. Good intentions
count for much in art, but the proof of the pudding is in the
eating, and this Rossini wasn't very appetizing. Best of the cast
was mezzo Vivica Genaux in the pants part of Malcolm.Genaux has a
dark, resonant Marilyn Horne sound and a naturally free vocal
production that never fail to thrill. Her entrance aria "Mura
felice" was certainly the high point of the opera. Soprano
Marguerite Krull as Elena was uneven, to say the least. In Krull's
duet "Ah dopo cotanto" with Genaux, Genaux repeatedly gave Krull the
tempo and the pitch, resulting in some lovely moments that proved
Krull is capable of good things when adequately partnered. The same
cannot be said of tenor Bruce Fowler (Uberto) who has just about
every technical fault a tenor can have. Baritone Nathaniel Watson
certainly got into his role as the indignant Douglas but his wide
vibrato and uninteresting timbre grew tiresome. The spectacle of
Watson trading cracked high notes with tenor Matthew Chellis
(Roderigo) was truly bathetic. The only praiseworthy voice other
than Genaux's was that of soprano Nancy Rathbun in the tiny role of
Albina. Crutchfield conducted too quickly and often too loudly,
compounding the problems of singers and chorus. Much as I admire the
idea of Bel Canto at Caramoor, another production like this one may
do their project irreparable
harm. |