Image of past seasons' offerings
Des Moines Metro Opera's 2018 summer festival was vivid, expressive, ravishing! It was, hmm... dulcet. This was my fourth consecutive year in attendance, and I am more and more astonished at the talent both onstage and off. The casts, the creatives, and the administrative team and staff are more than just competent, they're inspired. DMMO always offers supplemental programming, smart and informative previews, delicious thematic meals, and this year a very, very satisfying "tech talk," which allowed us the opportunity to see the striking of the Rusalka set. The audience experience is truly holistic and intimate.
Des Moines Metro Opera's 2018 summer festival was vivid, expressive, ravishing! It was, hmm... dulcet. This was my fourth consecutive year in attendance, and I am more and more astonished at the talent both onstage and off. The casts, the creatives, and the administrative team and staff are more than just competent, they're inspired. DMMO always offers supplemental programming, smart and informative previews, delicious thematic meals, and this year a very, very satisfying "tech talk," which allowed us the opportunity to see the striking of the Rusalka set. The audience experience is truly holistic and intimate.
Notes on the productions:
I saw three back-to-back operas in three days, a record for me, but I couldn't resist.
Photo credit: Jen Golay
Rusalka (Dvorak). An excellent cast in every way, especially Zachary James (Vodnik), a water goblin who I now understand is the connective in this tale. Sinewy and powerful, sensuous and intimidating all at once. I so enjoyed the three wood sprites who try to seduce Vodnik as well as the footmen, the male dancers, one of which (Cooper Stanton?) managed to illicit great sympathy as one of the few mortals who could see mysterious creatures. Finally, I so liked the toile vignettes and wafting furniture in the set, which clearly place this story in a liminal space. A perfect choice!
Rusalka (Dvorak). An excellent cast in every way, especially Zachary James (Vodnik), a water goblin who I now understand is the connective in this tale. Sinewy and powerful, sensuous and intimidating all at once. I so enjoyed the three wood sprites who try to seduce Vodnik as well as the footmen, the male dancers, one of which (Cooper Stanton?) managed to illicit great sympathy as one of the few mortals who could see mysterious creatures. Finally, I so liked the toile vignettes and wafting furniture in the set, which clearly place this story in a liminal space. A perfect choice!
Photo Credit: Duane Tinkey
Die Fledermaus (Strauss II). Scintillating and funny. An Austrian Gilbert & Sullivan. A sexy, silly farce. This was my first Fledermaus, and now I understand all the fuss; nevertheless, I felt a bit overstuffed after that feast. Anna Christy as Adele is absolutely brilliant, a singer with impeccable technique and superb comic timing.
Die Fledermaus (Strauss II). Scintillating and funny. An Austrian Gilbert & Sullivan. A sexy, silly farce. This was my first Fledermaus, and now I understand all the fuss; nevertheless, I felt a bit overstuffed after that feast. Anna Christy as Adele is absolutely brilliant, a singer with impeccable technique and superb comic timing.
Photo Credit: Duane Tinkey
Flight (Dove). I saw a production of this gem (on PBS, I think) about a decade ago, and I've been waiting for the opportunity to see it live since then. First of all, I cannot say enough about the marvelous score. It' so complex and rich! With all the potential voice parts, the human vocal range is sort of a proxy for the human condition. Also, the story arc is one for our times: we are ennobled when we connect. The cast is superior, singing actors all, and each is a stand-out. I will mention I've been enamored of a few for some time, Theo Hoffman and Andrew Bidlack who, lucky for us all, are the twist/tryst in Act II, Elise Quagliata who shone brightly in DMMO's A Little Night Music and As One last year, and John Holiday whose bright countertenor and beaming face stole my heart.
Flight (Dove). I saw a production of this gem (on PBS, I think) about a decade ago, and I've been waiting for the opportunity to see it live since then. First of all, I cannot say enough about the marvelous score. It' so complex and rich! With all the potential voice parts, the human vocal range is sort of a proxy for the human condition. Also, the story arc is one for our times: we are ennobled when we connect. The cast is superior, singing actors all, and each is a stand-out. I will mention I've been enamored of a few for some time, Theo Hoffman and Andrew Bidlack who, lucky for us all, are the twist/tryst in Act II, Elise Quagliata who shone brightly in DMMO's A Little Night Music and As One last year, and John Holiday whose bright countertenor and beaming face stole my heart.
Final Note: If you get the chance, the right hands to shake are General and Artistic Director Michael Egel, Conductor David Neely, and Stage Director Kristine McIntyre.
