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OperaNotes Review
St. Peter's Church in Chelsea
Music in Chelsea
May 23, 2004
By Charlene Frank
Prism Opera Showcase
Rigoletto (in concert)
Music: Guiseppe Verdi
Conductor:
George
Garrett Keast
Stage Manager: Joe Gladstone
Cast:
Rigoletto: Scott Bearden
Gilda: Colleen McGrath:
The Duke of Manuta: James Archie Worley
Sparafucile/Monterone: Mark Risinger
Maddalena: Cherry Duke
Borsa:
John Tiranno
Countess Ceprano/Giovanna:
Piper Pack
Marullo: Stephen
Lavonier
Congratulations to conductor George Garrett Keast. He brought this ensemble together and made beautiful music for us on this sunny spring afternoon. The young singers, accompanied by the highly talented pianist Howard Watkins, made sure that there was nobody in the audience who was not happy to be exactly where they were. The only complaint - the fee for the performance. This performance was to raise funds for the church renovations. They charged $10 per person. When New Yorkers complain that a performance is too cheap for the level of talent, something is wrong. Next time charge $30, and give half to the deserving young artists!
I usually try and save the very best for last, but in this case I'm going to change my pattern. I've mentioned baritone Scott Bearden as Rigoletto in other reviews and Sunday in St. Peter's Church in Chelsea I was reminded why I've done that. Scott Bearden is a superb Rigoletto! Simply superb. His voice is a big and well trained instrument. He uses it to make you go through every emotion with him. Mr. Bearden's Povero Rigoletto! was so emotion filled that I held my breath and during Cortigiani, vil razza dannata I felt like jumping out of my seat and yelling "Give him his daughter back!" I didn't feel that even once for the review of Rigoletto at the Met this winter. At this performance I gave Mr. Bearden the Bravos I was hoping to give at the Met, but didn't.
I hadn't read the program when the concert started so I wasn't aware of the fact that this was soprano Colleen McGrath's debut appearance as Gilda. By the end of the first act I thought that she was a bit weak in the role. At the intermission I read that she had never performed this role before and decided to wait until the next act to see if she grew into the character of Gilda. I was glad I did. In the second act she was visibly more comfortable and stronger in her role. She grasped all the colors of Verdi's Parla..siam soli..Tutte le feste al tempio and brought us the true intricacies Gilda.
Mark Risinger was a deep and thrilling bass as the assassin Sparafucile, and an equally impressive bass-baritone as the dark and haunted Monterone. I imagine we'll be seeing a lot more of Mr. Risinger.
I have seen very few people live up to the role of the Duke of Manuta. James Archie Worley, although he captured parts of the role, was not a fabulous Duke. He was just as good as some of the Duke's I've seen at the Met, but it just was not his role.
Due to renovations there will be no music in this church again until September. Check the Operanotes calendar after September to see listings of more music in Chelsea.