This year's Santa Fe Opera production of Rossini's La Donna del Lago (based on Sir Walter Scott's 1810 novel The Lady of the Lake) was a treat. Musically, quite a nice piece. I don't feel like giving a very definite appraisal of the opera itself without hearing it more, but it has plenty of excellent arias along with some that were less striking, some really nice orchestral parts (the opening scene, for instance), and good choral sections, along with what feels, at times, like more pedestrian sections (hardly unheard-of in Rossini). Unquestionably worth seeing in a good production like this one.
Joyce DiDonato is a fascinating singer and convincingly characterized the main female role of Elena. She has a very flexible mezzo with an extended high end, perhaps somewhere between a soprano and mezzo in tone, and great agility in coloratura. Ornamentation and fancy passagework is all there, not approximated, although very occasionally I felt like this was getting in the way of natural phrasing. Moreover she can usually do this while remaining relaxed, which probably contributes to her effectiveness as a vocal actress. There was a lot for her to do in this opera, besides the last-act showstopper Tanti affetti, and she did it all (including Tanti affetti) masterfully.
Tenor Lawrence Brownlee, as King James of Scotland (disguised as one "Uberto" during the first act), gave a solid performance but his voice, while clear and reliable, seemed a bit overmatched, in volume and projection, by Ms. DiDonato's at times; indeed, I occasionally wondered if she was holding back a bit so as not to overpower him. (On the other hand, she had a lot of singing to do over the course of the evening, so could have been pacing herself.) His singing came across as slightly reserved, perhaps a little stiff, although this was perhaps not completely out of character for a king. His voice seemed smooth, refined, his tone a bit burnished. I will definitely be interested in checking out his work in other settings. I thought he came into his own a bit more in the final scene, where he is king in his court, rather than disguised to investigate the situation in his realm (and court Elena).
Tenor René Barbera was superb as Rodrigo di Dhu, the leader of another clan, whom Elena's father Duglas (Douglas) intends for Elena to marry. His voice had a lot of color and texture to it, and projected well into the house. And he sang with plenty of power and passion. His voice showed no stress in climactic moments, and he did a good job of musically shaping phrases and whole arias, and of portraying Rodrigo as a vigorous, passionate young leader, not used to being thwarted. I'd keep on the lookout for opera's he's in---his participation is a reason to go.
Bass-baritone Wayne Tigges was also superb as Elena's father Duglas. He managed to convey real fatherly affection along with dictatorial control over his daughter's life, including the attempt to impose a marriage on her for reasons in part political and military. Both his appearance (tall, with tousled dirty-blond hair) and his singing, in a clear, flexible but not soft, somewhat commanding but not bellowing voice, contributed to the picture of a fairly rough-hewn Scottish clan-leader, whose character mixes some nobility with some crudeness and violence.
As Malcolm Groeme, Elena's own choice for a main squeeze, mezzo Marianna Pizzolato sang beautifully, and her somewhat darker mezzo worked well with DiDonato. She too was very solid in complex passagework. Their duet cavatina Vivere io non potro was a highlight of the evening, and one of the high points of Rossini's opera. She perhaps did not match DiDonato in acting skill; her long Act 2, scene 2 aria came off as a bit static. But she is an excellent singer.
Seeing Maometto II last year, and now La Donna, makes me think that Rossini had a particular interest in the theme of romantic love reaching across the divide of military conflict. In this opera, it ultimately succeeds in bringing peace. The quick peacemaking in the court scene at the end is perhaps a little bit unconvincing, but maybe further experience with the opera will clarify that aspect of the plot.
Last season, I began to wonder if Santa Fe plans each season to have a theme running through several operas. Last season, it would have been the damage caused to people seeking to live lives of love, art, peaceful spirituality, by the alliance of religion with state power. This year, I'd say it was romantic love and powerful women against patriarchy. This was the obvious theme of Rossini's opera, and I think the director underlined it by having some of the men behave extra-badly: some pretty aggressive come-ons by King James to Elena in the first act, violent treatment of women by clansmen in some of the choral scenes.
Some of the staging was perhaps a bit static, but the production did well to keep the original setting, and the sets were excellent, emphasizing rusticity and desolation over romantic lochs. (In fact, the lake seemed to have gone missing.) The chorus and orchestra were both very strong.
Overall, a good opera with moments of magic, extremely well produced and cast, and with a thought-provoking theme. Lots of excellent music, though sometimes padded out with lesser music, and with a story providing food for thought, and mostly effective drama, though probably not up with the best operas in the dramatic department. An opera I'd definitely see again, and hope to see done this well.