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4 November 2010 . eBAR.com . BAY AREA REPORTER
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MUSIC
Star turn with proboscis bon and Brian Mulligan as Ragueneau were not eclipsed. They fulfilled their duties admirably. Conductor Patrick Fournillier, also making his debut with the company, proved another important asset. His understanding of Alfano’s influence by Puccini, albeit lacking the big tunes and Debussy (Impressionism as a continuous stream of sound), lent a necessary cohesion
by Philip Campbell here are only a few more chances to see legendary tenor Placido Domingo in the San Francisco Opera premiere of Franco Alfano’s Cyrano de Bergerac. The entire run sold out quickly, and unless there are some ticket returns, it might mean taking a chance on standing room. It would be worth the extra effort just to see a great star in a career-capping performance, and the lavish production is more than equal to his amazing skills as both actor and singer. Not that composer Franco Alfano’s and librettist Henri Cain’s setting in French of Edmond Rostand’s tale of the swashbuckler with a poetic gift as big as his fabled nose is anything more than pleasingly serviceable. This show, imported from the Theatre du Chatelet, Paris, still manages to make quite a silk purse out of some fairly mediocre inspiration. Dismissing the score outright is unfair, despite the lack of any truly memorable melodies or innovation. The rhythm and flow of the orchestral accompaniment often erupt into moments of exciting drama, and the big set-pieces, such as the love duets, balcony sequence and Cyrano’s final moments, all prove genuinely effective. It would take a harder heart than mine to remain unmoved by such passionate and tender expressions, and the current cast is well-suited to bringing the familiar story to vibrant life. Director Petrika Ionesco also designed the breathtaking sets and original lighting, and his handling of the large crowd scenes, enhanced by fencing choreographer Francois Rostain’s and fight director Jonathan Rider’s furious combats, has created a stirring theatrical saga. Of course, the temperature really rises whenever Domingo is onstage, and there are very few moments when he is not the center of attention. Early in the opening matinee, SFO General Director David Gockley stepped out to say the star was feeling a certain indisposition with his voice, but that he would continue as far as possible. With so many big scenes to come, it could have been a severe detriment. Domingo managed to overcome any obvious difficulties, and even with a slight lowering of his trademark clarion tone, his superb artistry soldiered through to a triumphant conclusion. Few surviving superstar tenors of the glory years have managed their voices and careers with such intelli-
Cory Weaver
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Placido Domingo in Cyrano de Bergerac: bringing the story to life.
gence. Domingo need not have hedged his bets. By the final curtain, he had achieved yet another brilliant success. Chorus Director Ian Robertson marshaled his singers to their best showing in years. They may work in the proverbial shadow of the stars, but they collectively and individually participated with such believable acting and thrilling sonority as to earn equally high praise. The rest of the finely drilled cast also contributed immeasurably to the impact of the spectacle. Native of the Basque region of Spain, soprano Ainhoa Arteta was remarkable as Roxane. Looking like one of those cool Alfred Hitchcock blondes, but in sumptuous period dress, she gave a performance that grew, like her character, from shallow coquette to deeply loving and brave wife, to mature and lonely widow. There is a sheen and elegant edge to Arteta’s voice that matches her physical beauty. Her Roxane was thoroughly convincing, and she received (deservedly) a tumultuous roar of audience approval, second only to the ovation for Domingo. As her likeable but tongue-tied lover and husband, tenor Thiago Arancam made a fine company
debut. Singing clearly with a youthful tone, his dark good looks helped to add dash to Christian’s essentially good-hearted if slightly dim nature. As the characters in one of the most famous love triangles of all time, they could almost make Cyrano something of a chamber work. There are some other important supporting roles to underscore the drama, and baritones Stephen Powell as De Guiche, Lester Lynch as Car-
and urgency to the score. All four acts, divided into two parts, went by at a surprising clip. The final scene, with Cyrano’s noble death and Roxane’s recognition of his and her love, was especially touching. It may not be the world’s greatest opera, but it is certainly a grand one and a perfect vehicle for Placido Domingo, one of the greatest stars to ever pass our way. ▼