KRISTEN SHULTIS and MAGGIE GILROY
Special to The Leader and Reverb Editor
On Friday night, King concert hall erupted with sounds of idle chatter and the warming up of an orchestra. On the stage in front of that orchestra sat a lonely fireplace just waiting for the singers to arrive and perform in front of it. To open the show, the Hillman opera coordinator Julie Newell came out to say a few remarks.
She began explaining that this was the Hillman’s 60th year. She also talked about the Hillman scholarship and how it taught students to become better performers and learn their craft. Then her remarks turned somber.
She spoke Dr. Cheal who recently passed away. He was a war hero who had a flying cross and was a founder of the Hillman. She also talked about the spunk and drive he brought to the students and the Hillman.
The maestro, David Rudge, then walked out on stage and the orchestra began. Tisbe, played by Allison Deady, Clorinda, played by Aubrey Warner and lastly Cenerentola (Angelina), played by Amanda Bottoms, stepped out onto the stage — the sisters in night clothes, and Cenerentola in maid’s clothes.
The Opera, directed by Paul Mockovak, featured a twist on the classic fairytale. It told the time-old story of Cinderella; however this time, Cinderella, or La Cenerentola, had an evil stepfather who would not allow her to marry the prince. When she finally does attend the ball, it is a diamond bracelet that she leaves behind for the prince to find.
The opera maintained comedic elements up until the end. It also taught lessons about being nice to everyone because you never know who they truly are. Also, most operas don’t end with a happy ending the way this one did.
It broke the norm to see a different twist on the glass slipper with the bracelets instead. There was also the struggle of falling in love with someone whom you believe you are not supposed to fall in love with as the prince was in disguise the entirety of the opera, therefore tricking La Cenerentola.
You could tell that all of the actors loved their roles. They always seemed like they were one with the character that they were playing. They made sure that they conveyed every emotion they were feeling, from anger to happiness, all while keeping the comedy of the opera.
The chorus members added even more comedy in certain parts of the opera, specifically the storm scene. They also got to laugh at the sisters’ naïveté, which made the whole audience laugh along with them.
“This show was a huge time commitment and took a lot of work, vocally and mentally,” said ensemble member Jared Decker. “However, it was worth every minute. I am so proud of myself and my peers.”
As the orchestra was seated on stage, both the scenic design and staging were minimal. While the ensemble donned all black, the leading roles featured vibrant costumes, coordinated with the help of Laurel Walford of the department of Theatre and Dance.
“The commitment from the singers, the designers, the musical preparation and music direction came together in a way that brought the opera to life with sparkle, clarity and joy,” said Mockvak. It was an honor to be a part of it.”
As with all plays and operas, the cast came out and took their bows. Every person received a louder cheer and reaction from the audience members. Finally, as the last of the cast took their bows, all of King rose to their feet honoring the young musicians and the crew involved. The standing ovation reflected the opera’s positive reception by the audience.
“It was great! Even though it was a concert version, the actors really set the scene with their characters and voices,” said Jillian Ballow, junior music education major. “All of the singers and orchestra had a great blend and balance. It was really fun and a funny opera.”
The success of the opera was a point of pride for all involved.
“This year’s Hillman 60th anniversary Opera, Rossini’s La Cenerentola was one of those artistic experiences when the whole was so much greater than the sum of the parts,” said Mockovak. “This was an incredibly beautiful but also incredibly difficult opera that no undergraduate program in the country should be able to do, and yet, we did. “