AP News, March 23rd, 2007
It must have snowed a lot in 16th-century Scotland.
In Chas Rader-Shieber's new production of Rossini's "La Donna del Lago" at the New York City Opera, snow falls often on characters outside a dreary brick castle, bathed much of the time in aqua light. But when the gloom fades near the end and the soprano is granted permission from the tenor to marry the mezzo-soprano _ more on that later _ the action shifts to a ballroom bathed in orange light with 15 chandeliers. Men who had been wearing kilts appear in white-tie-and-tails.
It was an odd staging that debuted Thursday night at the New York State Theater. But fortunately there was a strong cast led by soprano Alexandrina Pendatchanska, mezzo Laura Vlasak Nolen and tenor Barry Banks.
Adapted from Sir Walter Scott's poem "The Lady of the Lake," this is an opera seria with a happy ending. Elena, known as the lady of Loch Katrine, has been promised to the tribal chief Rodrigo by her father, Duglas, but wants to marry Malcolm. Uberto, who is really Giacomo (King James V), runs across Elena in the woods during a hunt and falls in love. At the end, Uberto reveals his true identity, pardons Malcolm and Duglas, who had once kidnapped the young king, and blesses the marriage of Elena and Malcolm.
Got it?
Pendatchanska, singing the title role, had a bright top that managed Rossini's coloratura roulades with distinction right through her finale, "Tanti affetti." Nolen, in the trousers role of Malcolm, had a rich bottom that showed in the aria "Mura felici."
Rossini wrote difficult male vocal lines, a reason this opera isn't staged very often. Banks, who teamed with Pendatchanska in "Ermione" at City Opera in 2004, managed the treacherous stretches and stood out in "O fiamma soave," except for a few high notes that went off pitch.
Tenor Robert McPherson, making his debut, was somewhat blustery as Rodrigo, who is killed by Uberto, and baritone Daniel Mobbs sang with dignity, assurance and tone as Duglas. Music director George Manahan kept Rossini's melodies bubbling along.
Rader-Shieber's direction was somewhat static, with singers often parked on spots, facing the audience for extended periods. David Zinn's sets and costumes, which debuted at the Minnesota Opera in September, were a mixture of styles. In the second act, there was a tree in the middle of the stage _ think Hunding's house. Uberto wore a white-and-gold sash during the final scene that made him resemble Orlofsky. The final set would have worked nicely for Prince Gremin's ball.
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