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Intimate Opera Company Die Fledermaus
By Michael Van Duzer
Now in their 10th Season, Intimate Opera Company is one of several local grass roots companies producing community-based opera productions. The soloists, mostly young hopefuls or performers who choose singing as an avocation rather than a profession, are worlds away from the international stars and towering sets appearing at the Dorothy Chandler Pavilion. But then, so are the ticket prices. Sunday’s matinee of Die Fledermaus found a mostly full and enthusiastic audience enjoying Johann Strauss’ melodic bon bon.
Director Mark Lamanna chose a traditional concept and functional staging which worked reasonably well with Stefan Tatar’s rudimentary set (the show tours to several locations).
Many of the principals are double-cast. In the performance reviewed, Lindsay Feldmeth’s Rosalinda had the largest voice in the cast, but unfortunate costume choices made her look more the maid than the mistress of the house. Katharine Terray brought accuracy and clear diction to Adele, and Gerald Seminatore had fun with Alfred’s Italian accent while easily navigating the high notes. Andrew Scott was a dependable Eisenstein who even managed to elicit a surprising touch of sympathy, while Ryan Eithmeier unveiled a disappointingly anemic Falke. Allison Coop worked hard as Prince Orlovsky but seemed weighed down by the choice of a heavy accent.
Although some Intimate Opera productions have only piano accompaniment, Fledermaus had a small orchestra which kept up the pace under the confident baton of Kristof Van Gryspeer. The production plays three more venues through the rest of the month and should continue to fulfill the company’s charter by demystifying opera for the general public by producing affordable repertory staples in English.
Performances in several venues from March 9 – 31, 2007 www.intimateopera.net
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