Reviews

Opera at ODU: Il Matrimonio Segreto
Brian Nedvin, director; Paul Kim, conductor
April 27, 2019, University Theater
Review by John Campbell

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.