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Milwaukee. (North America).

Opera News

| September 01, 2002 | Koopman, John | COPYRIGHT 2002 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

Producing Der Rosenkavalier is a significant endeavor for any opera company. Undertaking it with a cast filled with singers making their role debuts seems a particularly precarious venture. Yet the fearless Florentine Opera took on Strauss's awesome score with an untested Octavian, Ochs and Marschallin, a maestro who had never conducted the work before, and--perhaps to ensure alertness--no prompter.

Suicidal as this sounds, all turned out well, and the company actually played to its great strength: the excellent Milwaukee Symphony, which serves as the Florentine orchestra, lent a solid underpinning to the entire project and contributed mightily to its success. Its brasses were outstanding, its horns and woodwinds polished and crisp, and its strings warm-toned and responsive (heard June 2). Conductor Joseph Rescigno held it all together with precise cues, artfully balancing stage and pit and shaping the score.

The venerable Bliss Hebert delivered ultra-traditional stage direction. He detailed the chorus action cleverly, gave those experienced in their roles (bass Peter Strummer as Faninal, tenor Douglas Perry as Valzacchi, mezzo-soprano Kitt Reuter-Foss as Annina and soprano Jane Giering-De Haan as Sophie, excellent all) plenty to do and kept things pretty basic for the debutants: bass John Cheek ...

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