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Arizona Opera Charts a New Course Without Glynn Ross.
By Margaret Regan
MICHAEL CAVANAGH SAYS he knows that "all eyes are
already on me." That's because Cavanagh is directing the
first Arizona Opera production mounted since the departure of
the company's longtime artistic director, Glynn Ross.
Ross' season stands as planned--the opening opera, Lucia di
Lammermoor, the 1835 blood-soaked Donizetti tragedy based
on a Scottish gothic novel by Sir Walter Scott, was Ross' choice--but
new general director David Speers re-auditioned singers for every
part in each of this season's productions. According to an Arizona
Opera spokeswoman, Speers canceled 80 percent of the contracts
Ross had signed with singers and directors.
Cavanagh, a Canadian who has worked with fellow Canadian Speers
in Calgary, was one of the replacements. The new artistic director
of the Edmonton Opera, Cavanagh directed La Cenerentola
and The Barber of Seville for Speers, and "had big
successes with those shows." At 37, Cavanagh is a new-generation
director who favors naturalistic acting. He can't stand the older
opera style, which has choruses marching mechanically on and off
the stage, or two lovers singing stiffly of their passions while
never getting around to looking each other in the face.
"My philosophy is that there are no small characters,"
Cavanagh said last week during a rehearsal break. "...Even
those who are not on the stage for very long. The piece has to
be real, to come alive, to make a connection to a modern audience.
It's theatre, nothing more, nothing less...I don't want Lucia
to be a 16th-century woman: I want the singer to be herself in
those circumstances, to act as though her lover is leaving her."
Cavanagh has three weeks to work with the performers, rather
than the two allotted under Ross. Jane Giering-DeHaan, veteran
of Houston, Seattle and Florence opera productions, alternates
Lucia's soprano part with Constance Haumann, who's sung in Santa
Fe, New York City Opera and Lyric Opera of Chicago. The tenor
role of Lucia's hapless lover Edgardo is sung by Brian Nedvin,
another Edmonton veteran who's also worked the Chicago, Washington
and Virginia operas; and Michael Rees Davis, who's sung with the
Metropolitan, Florida, Dallas and Bonn operas, among others.
Cavanagh praised the singers, noting that opera is "sung
theatre. But they've got to be singer-actors, hyphenated. We've
got a conductor here (Cal Stewart Kellogg) who is terrific about
drawing the drama out of the music...There's a lot to the story.
It's not just about great tunes, great singing. Opera means 'the
works,' and that's what we're giving."
Arizona Opera presents Lucia de Lammermoor at 7:30
p.m. Friday and Saturday, October 9 and 10, and 2 p.m. Sunday,
October 11, at the TCC Music Hall, 260 S. Church Ave. Tickets
are $15, $30, $46 and $61 for the Friday evening and Sunday matinee
performances; and $17, $32, $48 and $65 for Saturday. Tickets
are available at the Dillard's at TCC box offices, or through
the opera company at 293-4336.
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