A couiple of young singers made dazzling debuts last night at the Opera Theatre of St. Louis, with soprano Ashley Emerson and tenor Rene Barbera receiving roaring ovations after glorious performances in "The Daughter of the Regiment." Gaetano Donizetti's light-hearted opera, which dates to 1840, will have six more performances through June 26
Speaking of debuts, St. Louis-born John McDaniel, who has spent a lot of time in Hollywood and on Broadway, and six years as Rosie O'Donnell's music director, conducted members of the St. Louis Symphony Orchestra in fine style. He was in complete command all the way in his first opera and first time conducting the SLSO.
Donizetti's music brings all the style and power to a light-hearted story by Jules-Henri Vernoy de Saint-Georges and Jean-Francois-Alfred Bayard. It's as thin as a newspaper page but Donizetti brings it to rich, robust life. So do the singers. Emerson, as Marie, the title character, is about as big as a minute and cute as the proverbial button, with the power of a soprano twice her size, and when she bats her blue eyes at a red-coated soldier, it's all over. She spent last summer here as a Gerdine young artist, and she stepped into the starring role with grace and power. She's a promising comic, too, showing it well in a "ballet lesson" she takes with Elizabeth Coker Giron, Julie Opiel and Sydnee Reese. Excellent timing and fine choreography by Sean Curran, whose direction found — and emphasized — the humor in the story, and in a couple of libretto and lyric adaptations by Stephen Lord and Michael Albano.
It's a role that has been sung by Jenny Lind, Joan Sutherland and Beverly Sills, among hundreds of others, but Emerson's youth, expressive blue eyes, wicked grin and flouncy attitude give her an extra fillip. One can even almost believe that she was a foundling reared by the 21st French Army regiment
Barbera, the Swiss peasant who joins the army so he can get close enough to pursue his suit with , has a wondrous tenor, with a brilliant range and a warmth that enveloped the audience at every note.
Dale Travis, also making his Opera Theatre debut as Sergeant Sulice, Marie's foster father, offers a rich, warm bass-baritone that complemented Emerson and Barbera perfectly in a robust version of "Is it You"?
And then there was Sylvia McNair, who brought down the house in a lengthy solo as the Duchess of Krakenthorp, confessing that she has a singing problem. It was a superb performance by the veteran soprano, who made her opera debut here in 1983. It isn't easy to deliberately sing badly, but McNair was terrific. Interesting, too, that the song is a precursor of "Sing," from "A Chorus Line" when Kristine confesses "I could never really sing," and demonstrates in a manner similar to that shown by McNair.
Good comic relief from Dorothy Byrne as the Marquise of Berkenfeld, trying to become a guardian for Marie
Director Curran is a winner as he controls a large cast in an exemplary manner. Small stage. Large cast. A recipe for trouble, but Curran avoids it skillfully and allows his many singers plenty of opportunty to sparkle.
The set is rather simple, but James Schuette, who also designed costumes, pulled out the stops in the latter area, helping make this a bright, breezy, tuneful romp.
The Daughter of the Regiment, an Opera Theatre of St. Louis production, opened last night at the Loretto-Hilton Center and will play there June 1, 3, 9, 18, 22 and 26
—Joe