Opera Pacific's new production of "II Trovatore" continued over the weekend with an alternate cast in principal roles, first appearing Friday, to allow the company to stage consecutive-night performances.
As with opening night, the emphasis seemed to be on casting that could do justice to what is always most important in operas of Giuseppe Verdi - good stylistic singing.
Taking over the role of Leonora, the apex of the inevitable love triangle with tenor and baritone, was Turid Karlsen. Karlsen has a soprano with dramatic heft yet capable of delicacy and an attractively fresh tone quality. She brought out the vulnerability in Leonora, and her singing performance just got stronger all evening. Allied with conductor John DeMain, Karlsen was able to do some voluptuous shaping of Verdi's musical phrases.
The high point of the evening was a shimmering performance of the aria Leonora sings before going to her imprisoned Manrico ("D'amor sull'ali rosee"), which drew such an extended response from the audience - and the orchestra pit - that Karlsen had to break character to acknowledge the adulation.
Mezzo-soprano Marianne Cornetti, who made quite a sensation at Festa Italiana two years ago, was invited back as the gypsy Azucena. This is definitely a world-class voice, still somewhat new to the scene, but already getting hired at the biggest houses. Ample in volume and even throughout the ranges, Cornetti is made for the Verdi repertory. But she's the whole package: Her character was completely formed and her ability to project it goes seamlessly with her singing.
Baritone Louis Otey, a friendly face to the company, was back as Count di Luna. There was some vocal roughness at the beginning, but Otey is a pro, and he got it together along with his terrific stage presence, and the performance was winning.
Janez Lotric was supposed to take over as Manrico, but visa troubles kept him out of the country. Hugh Smith heroically sang all five performances and was holding up well on Friday night. The production closed Sunday.
