The seemingly unalterable journalistic shibboleth is that "new, first, biggest, rarest" are what we must emphasize. Then there is real life.
So, the official story here is that in a new, novel, bold enterprise, a chamber-music ensemble is presenting an all-opera program —not just that — an entire opera, and very rare one.
That would be Nadja Salerno-Sonnenberg's New Century Chamber Orchestra, collaborating with current and past Adler Fellows from the San Francisco Opera Center to perform Donizetti's 1841 one-act comic opera Rita.
The program also includes instrumental excerpts from operas by Johann Strauss, Mascagni, and Massenet, along with a portion of Verdi's only string quartet. Performances are Feb. 12-16, in Berkeley, Palo Alto, San Francisco, and San Rafael.
And now, the real story, behind the headlines, as it were:
The open rehearsal on Tuesday in the Kanbar Performing Arts Center (more about that later) was a delightful event, with outstanding, appealing artists, singers, and instrumentalists alike; a rehearsal that delivered more than just promise.
For Rita, this is only the second appearance in the area in recent years, after a Merola Program production in Cowell Theater. The opera's full title is Rita, ou le mari battu (Rita, or The Beaten Husband), based on a farce about abused husbands, the action taking place in Italy.
The composer, who died in an insane asylum in 1848, never saw the work performed; it had its premiere in 1860 at the Paris Opera-Comique. The librettist is Gustave Vaez, previously one of the writers for Donizetti's Lucia de Lammermoor.
Tyrannical shrew Rita (sung by Maria Valdes) is terrorizing not one but two husbands: the first, Gasparo (Efraín Solís), who ran away years ago (to Canada!), returns in vain to obtain a death certificate of the very much alive Rita so that he may remarry. The current husband, Beppe (Thomas Glenn), is hoping that Gaspar will reclaim Rita. The two men engage in a fight each hopes to lose and have the other take Rita off his hands. The result? No spoiler here.
"It's the story of a wild and wacky love triangle of sorts, and Donizetti’s music sparkles," says Opera Center Director Sheri Greenawald. "Nadja loves opera, and Rita is a wonderful comedic romp that will hopefully tickle her, and everyone’s, fancy."
Nadja Salerno-Sonnenberg confirms her devotion to opera: "I remember so well listening to those Saturday radio broadcasts from the Metropolitan Opera with my grandfather. Being able to stage an opera with New Century is a dream come true for me."
To see the ever-vibrant, always-in-motion Salerno-Sonnenberg play and conduct the Donizetti in full confirms her confessed love for opera. Donizetti's usual melodic sweep and rhythmic excitement never sounded more sweeping and exciting. New Century's habitually super-dynamic players are even more so here, giving their all to the score and the singers.
The singers: goodness! In the San Francisco Girls Chorus Kanbar Arts Center's Chorissima Hall — a large, square, white venue with terrific acoustics ... and metal folding chairs, oh well, that makes it "flexible" — the three young artists' voices filled the space with power and beauty. On top of that, they — and the production — offer hilarious entertainment.
Think of it: Rare or not, this is a comic opera from the composer who gave us The Daughter of the Regiment, The Elixir of Love (coming up at West Bay Opera), and much more — surely, this is not something to miss.
Part of the credit for what is an excellent fusion of music and drama (OK, comedy) goes to baritone Eugene Brancoveanu, who acts as script writer (adding English recitatives to the original Italian libretto), director, and designer. Lots of action and accomplishment on an obviously low-to-none budget. I just wish he would sing too, perhaps adding a new character to the opera.
Petite Valdes, of a humongous voice, has already commanded attention as Susanna in last summer's Merola Marriage of Figaro and in recitals, her Manon duet with Pene Pati established her emerging-star status.
Glenn, the "former" among the three Adler Fellows, is an accomplished artist, with many important roles under his belt, but here, he performs the role of the henpecked husband with the wide-eyed innocence and juvenile enthusiasm of a newcomer to the theater. He is believable in an improbable role.
Solís, as he already proved in last year's Merola appearances, is a big talent with big voice. If there is any fault to be found here, it's Donizetti's for not giving Gasparo more to sing.
Besides conducting the ensemble from the first chair (without a seatbelt, alarmingly) in chamber-music arrangements of the Overture to Strauss' Die Fledermaus, the Intermezzo to Mascagni's Cavalleria Rusticana, and a movement from Verdi's String Quartet in E Minor, Salerno-Sonnenberg plays the affecting solo in the Meditation from Massenet's Thaïs.
Transcriptions to string orchestra of the Mascagni and Massenet excerpts are by New Century's resident composer Clarice Assad; an interesting — if probably not entirely successful — idea of hers is to substitute marimba for harp in the Massenet, the instrument vying for attention with Salerno-Sonnenberg's gorgeous solo.