The Opera Tattler

* Notes *
Händel’s Serse had a strong opening yesterday evening at Houston Grand Opera. The production, from the English National Opera, is entertaining, and features astroturf as a main stage element. The chorus seemed to all be painted grey, and the supernumeraries white. During the overture, the principals are introduced in turn, with the names of the characters projected on a scrim. Though a diversion from the music, one imagines this is quite helpful to the audience, given how convoluted the plot of Serse is.

The orchestra, conducted by William Lacey, played nimbly, the overtures of Act I and III were spirited. “Ombra mai fù” was taken rather slowly. There were some moments when things seemed a bit awry, as in the Sinfonia of Act I, or at the the end of Act II. The chorus, on the other hand, sounded vivid and together.

Before the performance began, it was announced that Susan Graham, who is singing the title role, was feeling unwell, and begged our indulgence. She still sounded pure and clear, and she sang very beautifully. There were a few times her voice was rather quiet, or her low notes were off, but these were minor distractions. Her Act II Scene 10 aria, “Il core spera e teme” was especially fine. Laura Claycomb was convincing as Romilda, her voice is icily lovely, and though she has a lot of vibrato in her high tessitura, it is not unpleasant to the ear. She sang wonderfully with David Daniels (Arsamenes), their duet in Act III was amusing. Daniels also sang his Act II aria superbly. Sonia Prina’s rich, warm voice was appropriate for Amastre, and was a nice respite from all the high voices. Heidi Stober was exceedingly funny as Atalante, and she too had a good warmth. Philip Cutlip and Adam Cioffari, in the bass roles of Ariodate and Elviro, respectively, both were hilarious.

* Tattling * 
There was talking and whispering, but it was mostly reserved for when no one was singing. It was more unfortunate that the applause made some of the music inaudible. One cellular phone rang just before Act I, another just before Act II, and yet another at the beginning of the last aria of Act II.