* Notes *
A number of San Francisco Opera Center's Adler Fellows (pictured left) performed with conductor Nicholas McGegan and Philharmonia Baroque Orchestra last night at the SFJazz Center. The evening was a delight from beginning to end. The first half of the program featured four instrumental pieces interspersed with four vocal pieces, all by Mozart. The Overture in D major, K. 106 was played with grace, while Contredanse No. 1 in D major, K. 106 sounded rather cheery. I enjoyed the emphatic playing of the repeated notes in Contredanse No. 3 in B-flat major, K. 106.
Soprano Julie Adams sang "Nehmt meinen Dank" with clarity. Her voice has much strength and not a trace of strain. Baritone Edward Nelson was terribly charming in "Con un vezzo all'italiana" from La finta giardiniera. The quartet "Dite almeno, in che mancai" with Adams, Nelson, tenor Brian Thorsett, and bass Anthony Reed was brilliant as well.
The second half of the show was devoted to Rossini's first produced opera, La cambiale di matrimonio (The Marriage Contract). The piece is concise and quite amusing. The orchestra played with verve and McGegan looked pleased throughout as he conducted. Some of the Baroque instruments seemed less well-suited to Rossini than others, but the enthusiasm of all those involved never waned.
The singing was wonderful. Mezzo-soprano Nian Wang sang Clarina's aria ("An'chio son giovine") with conviction. Bass Matthew Stump makes for a wonderful, blustering Tobia Mill. Baritone Efraín Solís is hilarious as Slook. Tenor Brian Thorsett sings Edoardo Milfort with effortlessness. Soprano Jacqueline Piccolino is a dulcet-toned Fannì. Her sings with a certain subtlety that is appealing for this role.
* Tattling *
The first five rows were removed to provide the orchestra with a pit.
The Opera Tattler 
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