Operas reign at Power Center

Don't believe anyone who says opera has to be stuffy. Ask an audience member from Saturday night's performance of Ravel's "L'Enfant et les Sortilèges" and they will tell you otherwise.

REVIEW
	L'Enfant et les Sortileges & Le Rossignol Nov. 15, 1997 Power Center

The antics of a child (Deborah Lifton) frustrated with his homework set the scene for Ravel's one-act opera. Suddenly a world of agitated clocks and dancing frogs was possible to believe.

Brief appearances by the Teapot and Chinese Cup, Arithmetic, the Armchair and Wingchair, and the White and Black cats were captivating and humorous.

But Lifton carried the performance with her charisma and a voice which made Revel's score sound as it were indeed simply child's play.

Joshua Major's direction and choreography were excellent. The opera showcased the talent of the cast as an ensemble as well as the individual singers as they flew around the stage in a frenzy of music and color. Equally impressive was the simplicity but effectiveness of the set that further emphasized the talent of the performers.

In addition, the University Symphony Orchestra played a major role, often creating the setting through the highly intricate scores of both operas.

In fact, the orchestra may have helped carry Stravinsky's "Le Rossignol," the first half of the double feature.

"Le Rossignol" was not excessively atonal, nor was the story uninteresting or the quality inferior.

What kept this production from appealing to the audience was simply the lack of action, which the performers struggled with throughout the opera.

Often there was no motion from anyone on stage, which forced the singers and orchestra to carry the performance solely through their musical interpretation.

At times, it seemed as if this was too much to ask from the performers.

Jennifer Larson, who played the Nightingale, gave a very respectable performance of a difficult part.

Other commendable performances included Scott Piper's narration as the Fisherman.

Kathryn Hart was charming as the Cook, and was able to connect with the audience in a way that the other characters did not.

But even Stravinsky lovers had to admit that the Ravel made the evening while "Le Rossignol" just didn't move the audience in the way it could have.

Although one might question the programming, the quality of both performances was apparent, even if the Ravel was more fun to watch.

11-18-97