Double Your Fun with Cincinnati Opera Opener

Soprano Kelly Kaduce as Nedda in "Pagliacci" (provided)

The theatrical adage that tragedy is easy and comedy difficult came to mind, because the performance defied that wisdom. Schicchi's broad comedy was nearly pitch perfect, from the ensemble's superb comic timing to the loving attention to Puccini's superb score. That's certainly not easy, but it came off looking effortless.  Pagliacci had moments of beautiful and often powerful singing, but lacked the focus to bring out the outsize passions that lead to the violent climax.

Stage director Alain Gauthier revived his production from Opéra de Montréal and it’s an effective concept, using a stage in pre-production as a framing device and updating the settings to the mid-1950s.  Banks of dimmed light racks hang from the flies, scenery flats are barely visible and a lone stage light sits center stage.  Following Roberto de Candia’s restrained Prologue, the set swiftly morphed into a hillside village near Florence (Fiesole, maybe?).  Pagliacci’s traveling players entered pushing a battered green VW beetle that hauls their trailer.

Kelly Kaduce takes top honors in Leoncavallo's tragedy.  Her gleaming soprano and acting skills quickly defined the unhappy Nedda, who longs for freedom and love.  Frank Porretta portrayed Canio, the troupe boss and betrayed husband, with a genuine sense of melancholy that fully bloomed in the signature aria, “Vesti la giubba.”  Porretta’s tenor isn’t huge but it’s accurate, and his excellent Italianate styling amplified the emotion.  Baritone Candia gave a menacing edge to Tonio, as obsessed as Canio with Nedda.  If only the object of her affections – Silvio -- gave us a clue why she’s ready to risk her life to run away with him.  Baritone Ljubomir Puskaric sang the role quite well, but exuded as much passion as a dead tree branch.  Tenor Thomas Glenn’s Beppe stood out for its nuanced characterization, elevating a minor role into something more pivotal.

Sharing the honors with Kaduce is the Cincinnati Symphony Orchestra, led by Richard Buckley, who led a full blown performance with moments of exquisite lyricism and extravagant grand passion.

Alain Gauthier’s staging was often inventive and made good use of the stage, but the outsize emotions failed to ignite.

Not the case for Gianni Schicchi, the welcome comic relief, where everyone and almost everything was on point. This time, we view Florence from the bedroom of Buoso Donati, where his relatives eagerly await his death and their supposed inheritance.

The marvelous performances from a mostly local cast demonstrated that great talent need not be imported. Veteran bass Thomas Hammons gave a droll edge to Simone, the family elder, mezzo-soprano Catherine Keen was imperious as the matriarch Zita, mezzo Stacy Rishoi self-absorbed as La Ciesca, and baritone Thomas Dreeze was downright hilarious as the lisping doctor and the officious notary.

Candia returned as Gianni Schicchi, the wily conniver, with a restrained edge hinting at the character’s resentment of class snobbery.  Soprano Maria Luigia Borsi showed a deft comic touch as his daughter Lauretta, who isn’t above emotional blackmail when it comes to her romance with Schicchi’s relative Rinuccio, but her vocal performance wasn’t up to the mark. She began the signature aria, “O mio babbino caro” with a heavy tone that only lightened up in the final phrases. I kept wishing for the return of Kelly Kaduce. Fortunately, Edgaras Montvidas’ lyric tenor conveyed a Rinuccio full of youthful desire and frustration.

Puccini’s brilliant score was served up in all its witty deliciousness under Maestro Buckley’s baton.

Alain Gauthier proved a master of comic staging and imagination in his previous productions for Cincinnati Opera (L’étoile by Emmanuel Chabrier and Mozart’s Così fan tutte). He does it again with Gianni Schicchi and if Pagliacci isn’t quite there yet, maybe it will be by Saturday night's repeat (at 8 p.m. at Music Hall).