Strong performance by Michael Hendrick as Sam… Hendrick brought vocal authority to his role.

For a regional company such as Opera Carolina to produce an American opera is unfortunately something of a risk, even if the work is a standard almost fifty years old. Therefore, Opera Carolina’s presentation of Carlisle Floyd’s Susannah on April 21 is to be doubly applauded, both for the general excellence of the production and for the inclusion of such a work in a short (three-opera) season. To have the composer on hand in several public discussions of his work was a bonus.

Floyd’s powerful study of religious intolerance and injustice was well served. Marquita Lister was a fine Susannah. Her acting was both believable and always appropriate for the character, and she was particularly credible portraying Susannah’s disbelief in the face of the townspeople’s intolerance. Her lovely soprano is certainly suited to the young, innocent heroine, and her purity of line and sure legato made the lyric moments especially effective. “Ain’t it a pretty night” was a highlight, of course, but “The trees on the mountain” was even more beautifully sung. Rev. Butch’s comment (“That’s mighty pretty singin’, Susannah”) rang true. Unfortunately, her lack of attention to consonants made the projected titles particularly necessary, even given the libretto’s use of vernacular English.

As Blitch, Dean Peterson gave a solid performance, vocally impressive and well acted. He captured the smugness and selfrighteousness of the traveling preacher in the revival scene, which made the confession of his transgression (“Hear me, O Lord, I beseech Thee”) particularly effective. Other strong performances were by Michael Hendrick as Sam and Daniel Cafiero as Little Bat. Hendrick brought vocal authority to his role, while Cafiero’s portrayal of the weak and dimwitted Little Bat made the betrayal of his beloved Susannah both believable and poignant. The smaller roles, especially Dan Boye’s Elder McLean and Deborah Fields’s Mrs. McLean, were in more than capable hands. The orchestra played well for conductor Louis Salemno, and there was obvious rapport between pit and stage. The settings were simple to the point of starkness, but surprisingly lengthy scene changes too often spoiled the dramatic tension of Matthew Latas staging. Nevertheless, this was a satisfying evening of music drama, making one eager to hear Cold Sassy Tree (scheduled for the company’s 2003 season) and Of Mice and Men.

LUTHER WADE

http://www.highbeam.com/doc/1P3-76150220.html

by Luther Wade

Opera News