Review: Middlebury Opera’s “Fidelio” - The YAP Performance
A night at the opera in Middlebury, Vermont.
Last night I traveled from Rutland to Middlebury to see their opera company’s young artist production of Fidelio. In this post I’m going to break down my thoughts. But first - let’s start with a brief introduction of Ludwig van Beethoven’s only opera.
"Fidelio" - a musical manifesto about love, bravery, and democracy.
"Fidelio" - a musical manifesto about love, bravery, and democracy.
I think Leonore (Fidelio) should be counted among the strongest female characters in opera. Her love for her husband fuels her bravery in the face of a great adversary. She challenges the gender norms of her time, and refuses to idly stand by while her husband is wrongfully taken as a political prisoner. When she stood in between her husband, and his would-be murderer Don Pizarro, declaring that she would fight him to the death - I fell in love with her instantly. With that being said, let’s take a look at our cast of young artists.
The first thing I have to say is that I was absolutely thrilled to find out that there is another YAP in Vermont! It appears to be a well rounded, wholistic opportunity to grow with all the charm of performing on a smaller stage… but with no small audience, I should say! The main stage productions sold out quickly - I feel lucky that I managed to catch a ticket for this one. I also really like that their “apprentice artists” participate in educational outreach concerts. OCM also has an “Opera Under 26” program that offers free tickets to people under the age of 26 that want to attend the opera. I think this is wonderful, lord knows we need to continue to diversify our audience - initiatives like this are what will keep this art form alive well into the future.
The Review
The Opera Company of Middlebury enlisted professionals Kelly Morel, Gabriel Deyarmond, and Erik Kroncke to cover the roles of Leonore, Florestan and Rocco. They performed alongside young artists Thera Barclay (Marzelline,) Michael Laporte (Jaquino,) and S Joshua Sheppard (Fernando/Pizzaro) in last nights production. In this iteration, Fidelio takes place in Argentina during Jorge Rafael Videla’s dictatorship (1976-1981) during which he terrorized the nation by kidnaping and imprisoning political dissenters. These victims were broadly referred to as los desaparecidos or “the disappeared.” According to the IFSW “The targets were social workers, social work students, militants, trade unionists, writers, journalists, artists and anyone suspected to be a left-wing activist. The ‘disappeared’ (victims kidnapped, tortured and murdered whose bodies were disappeared by the military government) included those thought to be politically or ideologically a threat to the military junta, even vaguely; and they were killed in an attempt by the junta to silence the social and political opposition.” The opera curtain rises and we are greeted with a demonstration that references the White Scarf Protest carried out by the Mothers of Plaza de Mayo in 1985.
Now, let’s begin.
Act One
The act one duet between Jaquino and Marzelline was absolutely adorable. Michael Laporte played the excited young suitor very convincingly, and Thera Barclay captured Marzelline’s innocence and charm while thwarting his efforts. In the speaking portions I was impressed by their grasp of German diction. Although there were some issues with word stress, their acting more than made up for it. Followed by Marzelline’s aria “O wär ich schon mit dir vereint” Ms. Barclay’s light, deft and silvery toned voice made its entrance. Her delicate movements as she placed flowers in a vase, while singing musingly about her future life with Fidelio, was endearing. Mr. Laporte’s round, warm sound blended beautifully with hers.
Moving on to Rocco’s entrance, played by Erik Kroncke. I was delighted by his rich, enveloping voice. I would love to get hear him sing again in another production. The same is to be said with our Leonore, Kelly Morel - whose voice absolutely stunned me. Such a big, colorful sound! The top of her voice bloomed with ease, making it hard to believe that this is her first soprano role - and the debut of it, no doubt!
Just as we were whisked away into the quartet, it became clear that would be some balance issues. Unfortunately, our Marzelline and Jaquino were eclipsed by the larger, more developed voices. I struggled to hear Ms. Barclay for much of this scene. I’m relieved that this run of the show was done with piano, because it only would have been more difficult to hear the full texture with an orchestra present.
Rocco’s aria “Hat man nicht auch Gold” was very funny, and I found myself giggling along with the rest of the audience. All in all, great showmanship from Mr. Kroncke. Our Fidelio and Marzelline played into it perfectly, making this scene one of the highlights of the show.
The following trio had the same issues with balance as before.
Moving on to S Joshua Sheppard’s entrance as Don Pizzaro - I think he did a wonderful job, especially considering that he jumped in to sing the role of Fernando at the end! Mr. Sheppard was a caricature of a villain in “Ha! welch ein Augenblick,” the imposing tone he maintained throughout kept the fire going. I brought my partner and his teenage son along with me to the show. His son had never seen an opera before this, and he said Don Pizzaro was his favorite and that he “reminded him of a mobster” (I think that’s quite the compliment!) My partner said that as a father, Rocco was his favorite, and that Mr. Kroncke’s performance was “real” - and I couldn’t agree more. When Rocco refused Don Pizzaro’s order to kill the prisoner Florestan, it was a very powerful moment.
Leonore’s arias were stunning - Dr. Morel’s facial expressions were one of my favorite aspects of her performance, and it’s something to be admired. Her interpretation immersed me into the story and made me feel invested in the characters. Her and Mr. Kroncke’s combined acting prowess turned their following duet into something special.
“Bravi tutti” to the ensemble as well!
Act Two
Gabriel Deyarmond gave a heart wrenching performance as Florestan. I could feel my partner’s hand squeeze mine durring “Doch spur ich nicht sanft,” when Florestan sings about how his wife Leonore will be the angel that leads him to heaven when he succums to his death at the hand of Don Pizzaro. Altogether Mr. Deyarmand’s acting was great, and his clear, steely voice cut through the piano like a knife. However, I do think that he gave a little too much on the top, and it cost him a bit of his stamina. Other than that, it was a wonderful display of artistry - very promising! After his aria, Leonore and Rocco re-enter… here is where the magic happens.
Dr. Morel, Mr. Kroncke, and Mr. Deyarmond’s performance in the second act trio was chock-full of dramaticism and suspense. I couldn’t wait to see Leonore’s reaction to the prisoner turning out to be her missing husband - and Dr. Morel did not disappoint!
When Don Pizzaro returns to kill Florestan in his prison cell, Leonore reveals her identity in my favorite scene. Leonore jumps in front of her husband and declares that Pizzaro will have to fight her to the death. Holding a knife, Pizzaro lunges towards her - but is stopped in his tracks when Leonore pulls out a handgun. I and the rest of the audience gasped. The tension was relieved when Rocco stepped up took the gun from Leonore’s hands, directing Don Pizzaro to drop his weapon.
On a side note: my partner thought it was funny that Rocco made Pizzaro slide the knife towards him on the ground in what he called a true “Law and Order” moment.
Pizzaro is arrested, and S Joshua Sheppard appears again - this time as the liberator, Fernando. Before the start of the show, the artistic director Douglas Anderson gave us a heads up by saying “at first he’ll be the bad guy, and then he’ll be the good guy - so expect to just see him in a different costume…” which won a laugh from the audience. So, it came as no surprise that there were a few giggles to be had when he reappears as the deus ex machina.
We are carried off into the finale full of joy and relief. Fernando gives Leonore the key that will free Florestan from his chains, and they are locked in a passionate embrace. The breath of emotion that had been carefully crafted to come to this peak was all encompassing. We were also given a bit of comic relief when Michael Laporte as Jaquino wordlessly gestures to Marceline as if to say “well, how about now?” My partner and I were laughing about it as we left the theater - what a nice cherry on top.
Conclusion
This show was a wonderful introduction to the Opera Company of Middlebury and their young artist program. I already have a ticket to their YA concert this coming Friday, and I’m looking forward to hearing each of them showcase their talent independently. I think this program is one to be on the lookout for.
This one is green seal approved!
