 |
Leonard and Abrams
(Photo: Ken Howard) |
"...countertenor Yuri Minenko, who portrayed this 'man in the middle' counselor, was the only person in the cast who combined elegant, agile vocalism with a sense of period musical style. His voice is small but handsome, his technique immaculate. He projects just enough to be heard clearly, but he demands that listeners give him their complete attention. In a production in which most of the characters flounced about with awkwardness that could border on the irrational, Minenko maintained a dignified bearing even while wearing what came close to a pastel green leisure suit. The opening night's other countertenor was Jason Abrams (in his house début), the understudy for David Daniels, who called in sick. He held up his own in the role of Roberto (part of a love-interest subplot), and his attractive voice may earn him continuing plaudits as he addresses some inconsistencies that have not yet been worked out of his vocal production at this emergent moment of his career. As Ottone (who lusts after Griselda), soprano Amanda Majeski was made to run around dressed like an MTV award presenter. Her shrill timbre was not unsuited to her aria 'Scocca dardi,' which describes how Griselda's eyes throw darts into her soul, but in other contexts her tone seemed less apposite and her precisely notated arpeggios were the stuff of approximation. Some fine singing arrived via Isabel Leonard, a mezzo-soprano rising fast in the world of lyric theater. Nonetheless, she did not seem well suited to her role of Costanza, whom Gualtiero pretends he will marry, though he knows
