Take Three Anvils And Call Call Me In The Morning

by Steve Grabe

When asked what it takes to perform Giuseppe Verdi’s Il Trovatore, the legendary tenor Enrico Caruso once said, “Four of the best singers in the world.” Portions of the opera—such as the “Anvil chorus,” “Di quella pira,” and “Stride la vampa,” are part of the collective conscience of the Western world. Repertory Opera Company (ROC) is a community-based troupe; and while one may not get world-class production values, the audience gets to witness up close the enthusiasm and elation/fear that are no less real for the amateur than the seasoned professional when performing a truly great work.

With ROC’s Trovatore, the simplicity of sets and costumes allowed me to concentrate on the performances and the sheer volume of great tunes I was unaware the show contained. The program notes amply provided the background for the stage action. I enjoyed the chorus’ rousing singing and sure entrances along with the clanking steel of the anvil chorus.  The adult ensemble members did an excellent job, however one can’t be blamed for loving the children dressed in gypsy garb and smiling from ear to ear. The leads did an admirable job with this daunting score, which was masterfully played by music director Brian Farrell.

There is always the question of which character commands the most focus of Il Trovatore: Manrico, Azucena, or Leonora. Poor Count di Luna never seems to be in contention. As I write this I keep going round and round myself. This may be one of the problems and yet virtues of the show. Regardless of the story the show is a progression of one great tune after another and I just can’t pick which is best.

One of the greatest pleasures I get from listening to operas is hearing excellent ensemble work among the leads, and I heard it with both casts. The Manricos, Steve Moritsugu and James Salazar, along with Raul Matas’ Count di Luna, are to be commended.

The two Azucenas, Debbie Dey and LizBeth Lucca, owned the second act with commanding but different renditions “Stride la vampa” and the 4th act duet with respective Manricos were at once beautiful and heart wrenching. This was the first time Ms. Lucca has performed in a show she has directed since ROC moved to Pomona.

Call me a tenor but in this production the Leonoras stole my heart. Lindsay Feldmeth and Coril Prochnow truly wowed me with their arias.

The singers helping the leads move the story along: Mark Palmer/Sean Hughes (Ferrando), Lawren Donahue/Rachel Payne (Ines), Eddie Sayles/Jonathan Tran (Ruiz), Darby Eccles (Gypsy Leader), and Joe Prokop (Messenger) carried out their charges with confidence and aplomb.

Lastly, I must note what a pleasant experience was provided by the First Christian Church from having ample parking, joyfully sharing their Sanctuary and facilities, to having an excellent and well-tuned piano. The Church helped make the performances a community event by embracing this small company. This Saturday at 2:00 pm is the last performance.