Handel, Ariodante: Soloists, San Francisco Opera Orchestra

By Harvey Steiman

Reprinted with permission from Seen and Heard – Music Web’s Live Opera, Concert and Recital Reviews.

Conductor: Patrick Summers. War Memorial Opera Houses, San Francisco, 21.6.2008 (HS)

Cast:

Ariodante—Susan Graham
Ginevra—Ruth Ann Swenson
Polinesso—Sonia Prina
Dalinda—Veronica Cangemi
Lurcanio—Richard Croft
Odoardo—Andrew Bidlack
The King of Scotland—Eric Owens
Polinesso’s Squire—Anders Froehlich

Production:

Conductor—Patrick Summers
Director—John Copley
Choreographer—Kenneth von Heidecke
Set Designer—John Conklin
Costume Designer—Michael Stennett
Lighting Designer—Duane Schuler
Chorus Director—Ian Robertson

A sensational cast delivered one terrific vocal turn after another, which is exactly what all those da capo arias need in a Handel opera that runs more than 3 1/2 hours. In San Francisco’s War Memorial Opera House, Handel’s Ariodante flew past, thanks in part to Patrick Summers’ brisk conducting, but mostly due to the vocal splendors of Susan Graham, in the title role, Ruth Ann Swenson, as Ariodante’s intended, Ginevra, and, in her U.S. opera debut, Sonia Prina, as Ariodante’s scheming rival, Polinesso.

The tale of deceit and, at least in this production, how easily men can think the worst of their women, isn’t strong enough to carry the evening. But John Copley’s directing, or perhaps believable acting by Graham and Prina, had a curious effect. As applause-worth as the singing was, at the end of most arias I actually found myself wanting to see what happens in the next scene rather than stopping to clap.

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Handel Rides Into Cowboy Land

George Frederic Handel, February 23, 1685 – April 14, 1759

If Artistic Director Joel Revzen’s intention in 2006 is to give his Arizona Opera Company an operatic face-lift and move it into the national spotlight, he has succeeded handsomely. This was the first time the opera company delved into the world of Baroque Opera and from the viewpoint of vocal accomplishments and visual innovations, Revzen made the right choices. With his production team and in his light-handed musical approach to George Frideric Handel’s secular oratorio, he turned Semele into a full blown operatic work.

And it seemed as if Director Chas Rader-Shieber found the right combination of drollery and heartfelt sentiment in Handel’s opera along with Set and Costume Designer David Zinn and Lighting Designer Lonore Doxsee: all three contributed to a delightful and rewarding evening at the opera. But the production, while certainly pleasing to the eye, paid the highest tribute to Handel with the thoughtful and well-rehearsed musical values Revzen instilled in his merry band of talented singers.

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