Sarasota Opera performs a double bill that withstands the test of time

The Sarasota Opera’s opening night double bill of two little operas, "Cavalleria Rusticana" and "Pagliacci," packed more of a wallop on Feb. 15 than one might expect. They were by no means “little” other than being short in length. Thus, the typical pairing in performance that has occurred since shortly after their premieres in 1890 and 1892, respectively. 

Composer Pietro Mascagni pioneered the Italian verismo (realism) trend with his popular "Cavalleria Rusticana," yet never surpassed that early fame on the stage.

From the first notes, this overture opens a vision of paradise — the sublime, lofty strings, harp, flute and far more — as it grows more complex and emotional. This music juxtaposed with the raw anguish, jealousy and bloodlust of the action pulls this one-act opera into a satisfying whole.

Mezzo-soprano Lisa Chavez, known for her depth in playing meaty roles, portrays Santuzza, a woman tossed aside by the faithless Turiddu for the married trollop Lola. 

Rarely out of sight, wretched Santuzza repents, begs and accuses with desperation. Both the music and Chavez’s voice adapt to the emotion of the moment, often digging deep for effect. 

Rafael Davila’s Turiddu jilts Santuzza and callously brushes her aside. Davila has more than proven himself on the Sarasota stage. He is an accomplished singer-actor musically and with a voice to match. He is brash and arrogant until the jealous husband and brawny teamster, Alfio, confronts him. In a key moment with Turiddu's mother, we see the scared boy bracing for the fight.

Jean Carlo Rodriguez cuts a dashing figure for Alfio, and his voice is also one to please. But he meant business when it came to a duel. We don’t see the final thrust, but we feel it. We know. 

Lucia, Turiddu’s mother, is a comforting influence in the hands of Lauren Paul. Sara Kennedy plays Lola spot-on as the married flirt who finds all of this a game.

"Pagliacci," Ruggerro Leoncavallo’s most memorable opera, tells another tale of betrayal and jealous rage.

Both Davila and Rodriguez returned to the stage as leads in "Pagliacci," as Canio and Tonio, respectively. Mean and malevolent suits them both, or rather their voices easily encompass snarl and rage along with beauty of tone. Rodriguez now plays the deformed actor Tonio out for revenge.

Ashley Milanese and her lyric soprano voice charms us as Nedda, the rescued orphan who is now the entrapped wife of troupe leader Canio. As Nedda, Milanese convincingly rebuffs Tonio, sings of freedom, and stands up to her jealous husband. Her brief love duo with Benjamin Dickerson as Silvio is a breath of fresh air and hope both dramatically and musically. 

The aria that the world knows is Canio’s heartbroken “Vesti la giubba.” Davila sang this as if freshly wounded and feeling his most fragile. Sung as Canio puts on his makeup preparing for the show that must go on, it's far more powerful than as the soundtrack for a commercial.

The highlight of the show was the actual commedia dell’arte play. The pantomimed antics of Nedda’s Colombina with Alejandro Luévanos playing Peppe as Arlecchino were delightful until Davila’s Canio as Pagliaccio unravels to his own murderous jealousy. Blind with range, the beast takes control, murdering two. 

Throughout these two operas we enjoyed a most talented and well-used orchestra chorus. Kudos to Martha Collins for her excellent stage direction, which includes so much more than the main characters when a full chorus of men, women and children fill a stage.

The chorus sings richly and naturally. In "Pagliacci," their action on stage was a critical factor of the successful climax. Thanks to chorus masters Arthur Bosarge and Jessé Martins. 

This Sarasota Opera orchestra continues a tradition of excellence, creating the sublime in both operas and etching out wrought emotions whenever called upon. Victor DeRenzi as the conductor and artistic leader of all aspects has ensured a remarkably consistent level of achievement.

The 2005 productions revived for these two operas consist of artful and realistic sets, detailed costuming and lighting that miraculously reflect the passage of time during the day. 

The entire team deserves an ovation: David P. Gordon, scenic designer; Howard Tsvi Kaplan, costume designer; Ken Yunker, lighting designer; and Sue Schaefer, hair and makeup designer. 

If we’ve learned anything over the years, it is to expect the best from the Sarasota Opera.There will be blockbusters that stand out from time to time, but every production it mounts is its own jewel.