Sarasota Opera's 'Stiffelio' is a timeless tale that shouldn't be missed

If you are inclined to pass on Guiseppe Verdi’s opera "Stiffelio," assuming it’s a dusty, lesser opera because it’s rarely performed, then you will be missing out on one of the most compelling and delightful operas I have heard in some time. The power of this opera is in both the story, still relevant today, and Verdi’s masterful score using full ensemble and chorus for maximum effect.

Stiffelio is a minister returning home after a long mission to eventually learn that his wife Lina has been unfaithful. In the March 15 performance, tenor Victor Starsky fully embodied this role with a voice that accommodated both the pious peace he holds dear and the jealous rage and vengeance he succumbs to when the betrayal is made clear. His struggle is convincing, a nod to both Starsky’s acting and vocal prowess.

Aviva Fortunata plays the repentant sinner Lina, Stiffelio’s wife. A dramatic soprano with a voice that was as strong and clear in the upper range as it was deep and emotive in the low range, Fortunata clearly has the capacity for big roles. Able to rise above full orchestra and chorus, as she did many times here, Fortunata also melted hearts in her soft aria pleading for forgiveness at her mother’s grave in Act II. 

As an actor she convincingly navigated heavy demands of her role, transforming from adulteress intent on hiding her affair to a humble supplicant. One has to admire her power and stamina.

The notable duos between Stiffelio and Lina in Act I and Act III honed the emotional immediacy felt through the hall with a show of both performers' vocal certainty and prowess.

Lina’s father Stankar is an enviable role which Ricardo Jose Rivera filled as if born to it. His strong baritone voice carried his authority and vengeful rage. Bent on doing what he has to do to save his honor and that of his family, he's keen on using his sword against Lina’s seducer, Raffaele, ably carried by tenor Jeremy Brauner.

Rivera’s scene in the castle where Stankar is considering killing himself out of shame amazingly offered some comic relief. It was an opportunity for us all to recognize the fleeting nature of dark thoughts. Rivera is a marvel throughout.

Young Bok Kim, a popular favorite in any role he takes on, played the elderly minister Jorg. He is the conscience of the opera – steady and unwavering with his commandingly deep bass voice always pointing the way to the godly path.

The chorus makes a convincing case

Two factors coincide to add an unshakable underpinning to the opera: Verdi’s masterful scoring for full ensembles including chorus and Sarasota Opera’s talented chorus. Kudos to the chorus master Arthur Bosarge, but we all know the chorus here is consistently strong.

Its dense harmonies and blend account for much of the effect in delivering Verdi’s music in scene after scene. The results were amazing. Yet another reminder that this opera deserves a higher standing in Verdi’s repertory.

Stephanie Sundine consistently delivers excellence with her stage direction, and this production was notable. In each scene Steven Kemp’s set design was seamlessly supportive, true to the era, and never upstaged the singers. The swift transition in the first act from castle front hall to ballroom was impressive.

The supporting production team of costume designer Howard Tsvi Kaplan, lighting designer Ken Yunker,and hair/makeup designer Sue Schaefer are to be commended as well.

Behind all the work on stage is Verdi’s musical score and an orchestra with talent to burn. Conductor Victor DeRenzi sets the pace and foundation of the entire production with an orchestra that seems to flawlessly deliver.

I decided to not reveal the ending of this opera in hopes that readers will make haste to buy their tickets. If you can only see one opera this season, this is the one. Be sure to stay for Act III.