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Boston Opera Collaborative Scores Big Success with Handel's Alcina
BOSTON--February 17, 2009--The four Boston Opera Collaborative performances of Handel's Alcina this weekend at Mass Art in Boston were spectacular, with enthusiastic audiences enjoying some top singing. This 1735 Handel opera is so enjoyable when listened to on recordings such as that by Joan Sutherland, or the Renee Fleming version, but with such a good set, lavish costumes, and the visuals of the six highly polished Boston Ballet dancers, Alcina was worth going to live in Boston much more than once. As some of the roles were double cast with top singers in each cast, it was in fact worth going to at least two or three times. The six main roles were all double cast with top Boston opera singers, the creme de la creme.

Opening night starred Leah Hungerford as Alcina and the talented Emily Burr ( http://www.emilyburrsoprano.com )as Morgana. Kathryn McKellar ( http://www.KathrynMcKellar.com )did very well in the role of Oberto, as did the mustached Kristina Riegle ( http://www.KristinaRiegle.com )in the well-disguised pants role of Ruggiero. Brooke Larimer ( http://www.brookelarimer.com )sang the key role of Bradamante beautifully, and Christopher Aaron Smith was Oronte. Adrian Packel sang a strong Melisso.

Friday's and Sunday's performances were sung splendidly by Dana Schnitzer ( http://www.danaschnitzer.com )as Alcina, the talented Sara Ann Mitchell as Morgana, Rene Hites as Oberto, a mustached Christina Calamaio as Ruggiero, Amanda Robie as Bradamante, Kevin Hayden as Oronte, and Sepp Hammer as Melisso. Like the first cast, this second cast was outstanding.

It seems likely that some or many of these young opera professionals will end up at the Met or La Scala fairly soon.

The small Tower Auditorium at Mass
Art, 621 Huntington Avenue, just a couple of blocks from the Museum of Fine Arts, is ideal for opera. Every seat is close up and the acoustics are excellent. For those New England (and New York) opera fans who were not able to attend any of these rare performances of Alcina, their next best choice would now be to acquire the Alcina recordings by Joan Sutherland, Renee Fleming, and Boston Early Music Festival favorite Karina Gauvin.

The impressive historical orchestra consisted of a period harpsichord played admirably by Paul Cienniwa, baroque violins, a baroque viola, a baroque cello, and a violone (baroque bass), all creating a delightful chamber ensemble. The chamber ensemble, which Handel would certainly have applauded vigorously, also included Tatiana Daubek and Adriane Post playing the baroque violins, Harold Lieberman playing the baroque viola, Audrey Cienniwa on the baroque cello, and Andrew Arceci on the violene.

Rounding out the performance was a strong 11-member ensemble of established singers.

Oh, what a weekend it was!

Michael Willett

The big Boston Opera Collaborative opening performance of Handel's Alcina tonight at Mass Art in Boston was spectacular, with an enthusiastic audience enjoying some top singing. This 1735 Handel opera is quite enjoyable when listened to on recordings such as the Joan Sutherland or the Renee Fleming version, but with such a good set, lavish costumes, and the visuals of the six highly polished Boston Ballet dancers, Alcina is worth going to, and more than once, at Mass Art. As some of the roles are double cast with top singers in each cast, it's worth going two or three times. The six main roles are all double cast with top Boston opera singers, the creme de la creme.

Opening night starred Leah Hungerford as Alcina and Emily Burr as Morgana. Kathryn McKellar did very well in the role of Oberto, as did the mustached Kristina Riegle in the well-disguised pants role of Ruggiero. Brooke Larimer sang the key role of Bradamante, and Christopher Aaron Smith was Oronte. Adrian Packel was a strong Melisso.

Friday's roles will be Dana Schnitzer as Alcina, Sara Ann Mitchell as Morgana, Rene Hites as Oberto, a mustached Christina Calamaio as Ruggiero, Amanda Robie as Bradamante, Kevin Hayden as Oronte, and Sepp Hammer as Melisso. It is expected that this second cast will be equally outstanding.

The Thursday opening night cast repeats Saturday night at 7:30 and the Friday night cast repeats Sunday. It's not at all unlikely that some of these young opera professionals will end up at the Met or La Scala fairly soon.

The small Tower Auditorium at Mass
Art, 621 Huntington Avenue, is just a couple of blocks from the Museum of Fine Arts, and is ideal for opera. Every seat is close up and the acoustics are excellent. For those New England (and New York) opera fans not able to attend this rare performance of Alcina, their next best choice would be to acquire the recordings by Joan Sutherland, Renee Fleming, and Boston Early Music Festival favorite
Karina Gauvin.

The impressive historical orchestra consists of a harpsichord played admirably by Paul Cienniwa, baroque violins, a baroque viola, a baroque cello, and a violone, all creating a delightful chamber ensemble. The chamber ensemble, which Handel would certainly have applauded, also includes Tatiana Daubek and Adriane Post playing the baroque violins, Harold Lieberman playing the baroque viola, Audrey Cienniwa on the baroque cello, and Andrew Arceci on the violene.

Rounding out the performance is a strong 11-member ensemble of established singers.

Oh, what a night it was!

Michael Willett
Willett Corporate Communications