I used to have a co-worker who, on June 22, took great delight in informing the world that as of that day we started to lose sunlight every day. Who wants to hear that before the 4th of July?
I feel like that person as I write to inform everyone that the 2022 Opera Saratoga is half over. Sadly, because of COVID, this summer Opera Saratoga was forced to perform at six different venues, and all for only one or two performances. Under those conditions, it would be easy to lose track of this important cultural asset.
For example, it’s already too late to see the brilliant musical “Sweeny Todd” which played Wednesday and Thursday at the Saratoga Performing Arts Center. It was an exciting night of theater that closed the gap between opera and musical theater. Every role was beautifully sung and well acted.
The role of Mrs. Lovett was played by Broadway star, Carolee Carmello. The Schenectady native is a three time Tony Award nominee and a Drama Desk winner. Not only does she have a great singing voice, but her understated comic moments were an important and necessary relief from this very dark musical. Her work was terrific.
Her portrayal also made bass-baritone Craig Colclough, who plays Sweeny Todd, seem less demonic. He has an awesome voice, great stage presence and a flair for the dramatic moment. His gifted singing and Carmello‘s flair for humor made them a great team.
The entire cast was filled with superior voices. I could applaud each actor, but choosing only a few, Louis Tiemann as Anthony and Angel Yam as Johanna as the young lovers made beautiful artwork of several of the loveliest songs in the production. Morgan Mastrangelo breaks your heart with “Not While I’m Around.”
The staging with the performers playing about the orchestra is not the ideal way to present the musical, but director Stephen Nachamie made many clever choices that kept the flow of the story intact. Laura Bergquist conducted the orchestra in a way that proved “Sweeney Todd” is a musical masterpiece.
In an odd, unplanned way, starting with “Sweeny Todd,” the final three productions are a mini-version of Edelson’s 8-year tenure as Artistic and General Manager of Opera Saratoga.
He leaves at the end of July for the University of Houston as Professor of Practice and Artistic Director of the Moore’s Opera Center. He is keeping his position as Artistic and General Director of American Lyric Center in New York City. Both institutions focus heavily on developing the performers and composers of the future.
It is clear that the future of the art form and Edelson’s career are each about the future of opera. It is no coincidence that he both doubled the size of the Young Artist Program while here and introduced audiences to several new dramatic operas.
This season also includes a work new to the region, “Sky on Swings.” It premiered in Philadelphia in 2018. Because of COVID it is now finding its audience as it tells the tale of two Alzheimer disease patients. One woman has been suffering the effects of memory loss and cognitive functions. The other is in the early stages of the disease. By fortune they meet at a nursing home to teach and learn from each other.
There are thirty million people affected by this disease that also takes a toll on family and friends. Edelson’s father is one of those thirty million people. He is the director of the production which promises to be an insightful, human experience. It plays 7:30 at the Egg in Albany, July 7 and 9.
If you’re going to leave, leave big. It’s hard to think of a bigger send-off than presenting “The Barber of Seville” on the mainstage of Proctors in Schenectady. Rossini’s ode to love and laughter plays 7:30 on Friday July 8 and 2 p.m. Sunday July 10.
Edelson has many remarkable achievements of which he is rightfully proud. This season is an example of his ability and willingness to collaborate with other art groups and venues. However, when he speaks of what promises to be a glamorous and delightful “The Barber of Seville” it’s the performance of which he is most proud.
He says he is honored to have the distinguished baritone Sidney Outlaw to play the scheming comic barber, Figaro, but there is extra pride when he points to the important role of Count Almaviva, who is played by Brian Yeakley, an alumnus of Opera Saratoga’s Young Artists Program.
The pride doubles when he reveals the production is directed by Eve Summer, another alumna of the Young Artists Program.
With Edelson leaving the City of Saratoga, the entire region loses an innovative leader. But he’s not gone yet. There are a couple of weeks left to enjoy and appreciate our good fortune in the high level of opera he has brought to our area.
Bob Goepfert is theater reviewer for the Troy Record.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.
