| Il Campanello di Notte |
ReviewsOpera at ODU: Il Matrimonio Segreto Il Matrimonio Segreto or The Secret Marriage, is Domenico Cimarosa's little gem of understated wit, a comedy of errors about a dysfunctional, but endearing family, first performed in 1792, the year after Mozart died. Played with broad comedy, this jolly production was sung in Italian but updated to our era of selfies and Kardashian sisters with subtitles in modern American-English hipster language. Businessman and father Geronimo, sung by ODU Senior, bass Logan Kenison, has two marriag-age daughters. At the center of the action is the doting couple, Paolino (tenor Hunter Elliot), an up-and-coming young lawyer and his beloved Carolina (Cristina Loyola), Geronimo's younger daughter. Geronimo has a plan to marry off his eldest daughter, Elisetta (Victoria Magnusson) to an English “Milord” in the original, here a paparazzi-loving, wealthy bachelor, Il Conte Robinson (Jaron Stevenson). Much of the humor and suspense comes from knowing that Carolina and Paolino secretly married two months ago. Of course the Count prefers the married daughter, so the couples must run interference and it is all complicated by the girls' aunt Fidalma (Katie Wesley). She runs the household and is a pill-popping, sex-crazed, aggressive middle-aged woman. Each character has a unique personal agenda, including Fifi, the ever-vigilant, prying, gossiping maid (Michelle Bjork). After a bedroom scene of mistaken identities the truth of the earlier marriage is revealed. There are fast-paced duets, including the newlyweds keeping their secret, and witty ensembles as pressures mount involving real dramatic flexibility and interaction. The cast was most convincing as Paul Kim led the forty-piece orchestra with especially effective music for winds. The opera came off brilliantly. Ms. Loyola gave a superb performance as a young woman in love with her man and Mr. Elliot has the looks and vocal chops of a leading man. As the papa, bass Kenison offered comic gravitas and mezzo-soprano Wesley as the aunt sang with passion. Jaron Stevenson brought to life the flaky, playboy Robinson who agrees to marry the older sister in the end. Once again Brian Nedvin staged a neglected but engaging opera. Laura M. Bjork was assistant director; Emily Hines was assistant conductor, Bobbie Kesler-Corleto was rehearsal pianist, Brooke Sweeney was stage manager, set designs were by Jim Lyden and the lighting designer was Woody Robinson. We extend a hearty thanks to all for a charming evening at the theater.
This one-act comedy gem is by Gaetano Donizetti (1797-1848) who wrote some 30 operas. He composed Il Campanello di Notte in 1836 and the title is translated into English as The Apothecary's Bell or just Night Bell and is based on an early vaudeville play set in Naples. Professor Cristina Loyola directed this comedy in a charming production. The set was colorful and well thought-out. The protagonist, Don Annibale Pistacchio, an older (age 49) wealthy pharmacist (Carter Campbell, bass), has just married the young and beautiful Serafina ( Kristiana Jones, soprano). The problem is that that Serafina is in love with the youthful Enrico (baritone Frank Veliz). The opera opens with a reception for the newlyweds at Don Annibale's home. The Don must leave for Rome at 5:00 AM the next morning on a business trip. The game is on! How to distract the groom to kept him from being alone with his new wife. Enrico and Serafina have been lovers in the past but Enrico is not rich enough to please the mother-in-law Madama Rosa (Alijah Djanpie), who is, as they say, "a piece or work." The performance was in Italian with projected English super-titles so we were all in on the fun. Sitting with my grandniece Taylor Campbell, her cheerful laughter added to my pleasure since Don Annibale was sung by her brother, Carter. Director/Music Director Loyola was reaching her goal of a production that was fun and accessible for all. One of those moments was when the Don's steward Spiridione (Addison Maldonado) informs him that Enrico, the ex-boyfriend, has crashed the party and that everyone loves him. The music begins soon after and Annibale attempts to bond with his bride in the opening dance. His mother-in-law interferes, leaving Enrico free to snag Serafina's attention. The enthusiasm and excellent singing by the young voices brought the characters vividly to life. Campbell and Maldonado's two patter songs (comedic songs with rapid iteration of words with little support from the music) were well done with all of it sung in Italian. Kristiana Jones sang with a beautiful sound and affecting acting. We were greatly impressed with the demanding role of Enrico in disguise coming to the door several times with one ailment after another. We were entertained by Annibale's growing frustration at what he believed to be one patient after another showing up at the door preventing the consummation of his marriag to Serafina. The glee in the banter and planning between Enrico and Serafina for the two weeks her husband will be away was, shall we say, scandalous. It was a most wonderful production by all of them. Elisabeth Bjork at the piano was excellent at moving this comedy along. The Stage Manager Doris Taylor and her assistant Aaron McFarlin created a seamless narrative flow. The appropriate period Costumes were overseen by Jenna Lyons and the Props Master was Noel Morales who also sang in the ensemble. And last but not least were the ensemble members who moved the story along: Genevieve Butler, Emma Boney, Erin Crape, Analiese Guzman, Charlize Molinary, Noel Morales, Zach Nordberg, Lars Nyman and Gage Pierce. Back to Top
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