Opera scenes bring audience to tears

Senior Henry Roach, junior Samuel Schuler and sophomore Tanvi Thatai perform "Don Pasquale, Act 1 Trio" by Gaetano Donizetti and Giovanni Ruffini. Photo by Alana Melvin.

The idea of sitting through an entire opera strikes fear in most. Yet Lawrence University’s tradition of collating select scenes from different operas creates an engaging and impressive operatic variety show. These Opera Scenes were performed last Wednesday, May 17, in Stansbury Theatre to resounding success. The performance was directed by Director of Opera Studies and Associate Professor of Music Copeland Woodruff and music directed by Assistant Professor of Music Kristin Roach. 

The stage opened with a trio from Gaetano Donizetti’s “Don Pasquale.” Written in 1810 during the midst of Italian Romanticism, the comic love story was adapted into a radically modern interpretation. On stage was not an early 19th century scene, but a modern-day version.  

Junior Samuel Schuler, playing the opera’s namesake, was the first to enter. His committed acting immediately established the extremity of the opera’s dramatism. Indeed, his role was a comic one and the audience was hugely receptive with frequent laughter. Senior Henry Roach as Doctor Malatesta was outstanding, with a deep, rich tone that demanded the listener’s attention. The vocal control of junior Tanvi Thatai as Norina was excellent, particularly in the higher register.  

Senior Jammie Hammer and junior Emma Nolte perform “Le nozza di Figaro, Act 3 ‘Sull’aria’ recit and duet” by Wolfgang Amadeus Mozart and Lorenzo da Ponte. Photo by Alana Melvin.

 The following scene featured the Act 3 recitative and duet “Sull’aria” from Mozart’s “Le nozze di Figaro.” A scandalous love letter dominated the narrative, threatening to expose the infidelity of the Countess’s husband. Junior Emma Nolte played the Countess, while senior Jamie Hammer was her maid, Susanna. Their onstage chemistry was hugely admirable; in particular, their voices—of strikingly different timbre—blended nicely to form a cohesive sound.  

Next was the Act 3 Trio from Jacques Offenbach’s “Les contes d’Hoffmann.” In a thrilling and intense scene, the mysterious Doctor Miracle—played by senior Daniel Boyd—attempts to convince Antonia—played by senior Dana Abbo—that she should choose marriage over singing.  

The talent on display here was tremendous. Boyd had a powerful tone and thoughtful acting, exemplified by his well-timed maniacal laugh towards the end. The audience could hear the plot’s conundrum in Abbo’s voice, and one had no choice but to sympathize with her predicament. 

About halfway through, two performers joined Boyd and Abbo: junior Chelsea Dongas as La Voix and Mae Gerwe as young Antonia. This was an onstage flashback to Antonia’s early singing lessons and Dongas’ voice seamlessly joined the texture.  The pianism of first-year Ella Dorsey in the pit was particularly impressive, as she smoothly switched between quick mood and texture changes. 

The penultimate scene was the Act 2 duet from Carl Maria von Weber’s “Der Freischütz,” considered the first fully-fledged Romantic opera in German. Juniors Elena Crino and Allison Juárez Wunderlin starred as Ännchen and Agathe respectively, bringing full dedication to their roles. Their vocal interplay was well-polished, while their acting made for a convincing story. 

The “Der Freischütz” scene was particularly notable in its technical aspects and included an excellent painting created by sophomore Ella Rose Schaefer. The costumes for both performers were stunning; they carefully brought out the characters’ attributes, offering visual communication alongside the songs. The costume designers involved included Instructor of Theatre Arts and Costume Shop Supervisor Kärin Kopischke, first-year Mercury Thornton, junior Jana Casey and sophomore Elie Bufford, while the assistants were senior Maeve Shaffer and junior Zhanna Weil.

For the finale, the largest number yet took place, with a total of 10 performers. This was an excerpt from “A Nearer Mother,” an incomplete opera by Evan Mack, the program’s only living composer. The scene recalled the life of Ruth Coker Burks, who was a caregiver during the AIDS crisis. For some AIDS patients, Burks was their only caregiver, as the stigma around the disease led to their families abandoning them. 

Senior Henry Roach, junior Samuel Schuler and sophomore Tanvi Thatai perform “Don Pasquale, Act 1 Trio” by Gaetano Donizetti and Giovanni Ruffini. Photo by Alana Melvin.

Two performers stood out in particular: sophomore Mariah Schaumberg gave an outstanding performance as Burks, bringing many in the audience to tears. Portraying an AIDS patient, senior Quinn Vincent matched Schaumberg’s emotional intensity and brought enormous commitment to their role. Sophomore Lexi Henkel as Head Nurse and senior Charlotte Hall as Kathryn also shone in their roles. 

Kristin Roach played piano, while sophomore Ben Keating took the baton during Mack’s piece. He was especially aware of the many singers’ pacing and nuances, following them quite effectively. The ensemble included sophomore Alexis Berget, junior Maddie Anderson, sophomore Octavia Chudnow, senior Sudha Schultz, sophomore Curtis Anderson and senior Daniel Boyd. They carefully coordinated fast changes from acting in the scene to providing background choreography. 

The performers were not the only highlights of Mack’s excerpt. The scene’s lighting was designed by senior Elliot Odette and first-year Jessie Downey and was outstanding. It went through various mood changes, sometimes simultaneously.  

Although the musicianship on display was excellent, the overall repertoire choices were limited. The scenes chosen were of a narrow origin, all between 1786 and 1880, aside from the final work of the last few years. Regardless, the performances were admirable and memorable.