Opera al mare 2024: Sitzprobe!
It’s Sunday and, for the first time, the 11 solo singers and seven instrumentalists are wed. Everyone is excited. Some of the singers are dressed for the occasion — this is a contemporary dress production.
The excellent Opera al Mare staff pianist Francesco Ricci doubles as “pianist” and “harpsichordist” — pianist filling out the “orchestra,” and harpsichordist as continuo accompanying the recitatives. Playing continuo is extremely challenging as Ricci must essentially breathe with each singer.
Of course, Cailin is in his element creating the spirit of “Don Giovanni.” The singers are “on,” and the instrumentalists are “on.” The excitement is palpable — but excitement isn’t always good.
“You need to stay right with this,” Cailin says to the players, indicating his baton. “Don’t listen to them (the singers) or they’ll drag. You need to stick with this.”
Kathleen delivers one of Elvira’s arias with particular brilliance.
“Bravo!” exclaims Cailin.
Alexandra is exhibiting a particular sensitivity singing one of her arias as Zerlina. Guest artist Alberto Gentili adds his dark baritone as Masetto, Zerlina’s betrothed
Whenever things fall apart — which isn’t often — Cailin’s cacophonous laugh of glee lightens it up for everyone.
When it isn’t going smoothly between Emily’s Anna and the clarinetist, Cailin stops them: “There’s no such thing as counting,” meaning their interaction needed to feel more natural.
The end of the afternoon was interrupted by a truly startling denouement. As the Commendatore, bass Hadi Alibeigli (another McGill student, this one from Iran) who hadn’t been heard from much, suddenly bellows in his huge dark bass:
“DON GIAVONNI!”
Time stood still.
“I felt goosebumps!” Collier exclaims — and I guess everyone else did too!
Postlude
While the cast of “Don Giovanni” Sunday afternoon, Ambrose Cusack, Ella Freund and Sophie Gustafson began work on Haydn’s “La canterina” — first with Josh, then with Elaine — until the wee hours.
More to come. …