Both Mecum and Turner sang “big,” but without showing any effort. The counterpart to the soprano’s big moment is Florestan’s heroic aria, opening Act II: “Gott! Welch Dunkel hier!” (God! How dark it here), and Brent Turner tossed it off as if it wasn’t a killer of tenors. Brent Turner as Florestan and Meredith Mecum as Leonore | Credit: Otak Jump Her big aria, “Abscheulicher!” (Abominable monster), shook the rafters and moved the audience. In the title role, Meredith Mecum made an important West Bay debut, the clarion call of her powerful voice never diminished in one of opera’s most demanding roles. with great symphonic music, great vocal ensembles, as well as magnificent arias.” “The score is different and unconventional, to be sure,” Moscovich continued, “but it is also extremely effective.

holiday, there was an audience-tickling bit that changed “the Spanish king’s name day” to President’s Day.)Īs Moscovich wrote about Fidelio, “it is music that reaches the heart,” an observation well demonstrated by the WBO performance. Some clever bits in the Supertitles and a few Facebook projections came close to that danger point, but respect for the work and the relentless focus on realizing Beethoven’s intention and art saved the day. prison (but retaining the German text) might have been asking for trouble, especially if it was overdone. Stage director Ragnar Conde’s concept of bringing the work into a present-day U.S. Peter Crompton’s complex sets were architectural marvels. José Luis Moscovich conducts the performance | Credit: Otak Jump Soloists shone, the chorus of a dozen male prisoners - later doubled in size when women joined in for the finale - channeled the sound of big symphonic choirs. Under Music Director José Luis Moscovich’s baton, the orchestra - split between the pit and the wings of the stage - played with dedication and high spirits.

San francisco opera fidelio review