Credit: Julie Smith

Delaware Valley Opera Company (DVOC) presented a unique triple-bill on August 13, 2023, which included the Philadelphia debut of Misha Dutka’s “The Stronger.” This was accompanied by Mascagni’s “Cavalleria Rusticana” and Leoncavallo’s “I Pagliacci.” The operas were performed at the Venice Island Performing Arts & Recreation Center in Philadelphia.

It’s no small job to showcase three operas in a single afternoon, and while this was the final performance of DVOC’s run, the results were mixed.

Dutka’s “The Stronger” melded well thematically with the conventional Cav/Pag pairing, yet its atonal score, underpinning the monologue, presented a challenging auditory experience.

The rendition of “Cavalleria Rusticana” felt timid and lacked momentum. Nonetheless, it had its moments, courtesy of two singers who delivered excellent vocal performances.

“I Pagliacci” was the clear highlight. The DVOC production brought compelling drama that was bolstered by a great cast.

“The Stronger” Not So Strong

DVOC gave Dutka’s “The Stronger,” its Philadelphia premiere. The opera, inspired by August Strindberg’s play, unravels the encounter between a retired actress, Clara, and her former stage companion, Amelia, in a restaurant on Christmas Eve. While Clara reminisces about their theatrical days, Amelia communicates solely through gestures because she can’t get a word in edge-wise. Throughout, Amelia remains seated, a passive figure, as a manic Clara breaches the boundaries of personal space.

The storyline might be straightforward, but the musical execution is complex, making it challenging to cultivate a connection or sympathy for either protagonist.

Soprano Dana MacIntosh‘s portrayal of Clara lacked dynamics, rendering her monologue somewhat loud throughout; nuance just wasn’t there. On the other side, Faye E. Macey’s Amelia, while good in her silent reactions to Clara, occasionally gave the impression that she was meeting her for the first time.

The narrative reaches its high point with the revelation of Amelia’s affair with Clara’s husband. The opera concludes with Clara’s sardonic gratitude, giving credit to Amelia for refining her husband’s skills as a lover.

While the musical concept and narrative were intriguing, the challenge lay in navigating the atonal composition—which pianist Julia Hanna played excellently—and truly connecting with the characters.

A Timid Cavalleria Rusticana

As is typical, “Cavalleria,” was performed alongside “Pagliacci,” with both Verismo-firsts providing a gritty look into the lives of ordinary individuals.

Under the direction of Theresa Seri, the cast featured mezzo-soprano Rebecca Sacks as Santuzza, Christopher Lorge as Turridu, Theresa D’Andrea as Lucia, Kevin Patrick as Alfio, and Elizabeth Clarkin-Breslin as Lola. Providing the musical backdrop on the piano was DVOC Music Director Joseph Krupa.

Regrettably, the DVOC performance appeared hesitant, giving the show the feel of a dress rehearsal rather than a polished final show. Its tempo was lethargic, with the quality of individual performances ranging broadly. The male choir especially struggled with coordination and lacked assertiveness.

However, the powerful vocal deliveries of Sacks and Lorge stood out.

In a previous review by OperaWire, Sacks was lauded for her performance in Felix Jarrar’s “Off With His Head,” a concert rendition highlighting “Roberto Devereux.” The critique praised her “prominent voice, mighty enough to fill spaces far larger than the cozy church in Greenwich Village … she sang with emotion and purpose—you could hear and feel the anguish in her phrasing and approach.”

This praise is mirrored in her role in DVOC’s “Cavalleria.” Sacks’ impeccable diction and powerful projection ensured that even those seated in the furthest seats heard her. Her portrayal was genuine, with little unnecessary drama. Her rendition of ‘Voi lo sapete, o mamma’ was deeply moving, while D’Andrea’s portrayal of Mamma Lucia in response to Santuzza’s revelations felt earnest and heartfelt. Sacks’ voice carried emotive parlato, mirroring the depth of pain she portrayed.

Sacks’ utilization of the stage is also praiseworthy amid a performance that often bordered on the static. While other main characters’ movements felt constrained and unsure, Sacks dynamically inhabited the space, with her physicality enhancing her delivery.

Her chemistry with Lorge, who played Turridu, was clear, and their vocal balance was excellent. A mismatch would have scuttled the show.

Lorge’s tenor exuded a deep warmth, fiercely resounding in moments of anger while brimming with remorse and sorrow as he reflected upon the chaos he instigated. Although his initial ‘Siciliana’ portrayal was powerful, a slight waver on the concluding A hinted at an overshoot. His onstage movement was notably absent, raising some initial concerns.

However, as the opera unfolded, Lorge worked out the kinks, culminating in a well-sung brindisi and a heart-wrenching farewell to his mother, as he beseeches her to care for Santuzza.

Both Kevin Patrick (Alfio) and Elizabeth Clarkin-Breslin (Lola) delivered commendable performances.

Pianist and DVOC Music Director Joseph Krupa bought out the melodic richness of Mascagni’s composition. Juggling the accompaniment for two consecutive operas, Krupa’s stamina and proficiency never flagged. His renditions of the Prelude and Intermezzo earned him much-deserved applause.

Regarding the set design, Seri opted for minimalism with a table and chairs symbolizing the tavern and a statue of the Virgin Mary, flanked by two plants representing the church. While this straightforward staging avoided unnecessary modern reinterpretations, it might have benefited from more details. A richer setup, with additional tables or a more pronounced church setting, might have offered a more immersive experience for the audience.

“I Pagliacci” – No Clowning Around

Straight to the point: Douglas Rowland, as the volatile clown Canio, was nothing short of electric. His voice could cut metal, and his stage presence was riveting.

Robert James Davidson‘s portrayal of Tonio was chillingly memorable. His unsettling, Joker-esque grin, as he loomed over the fallen Nedda and Silvio, encapsulated the darkness of the moment as he uttered the iconic words, “La commedia è finita.” Unsurprisingly, an audience member whispered, “That took a dark turn.”

Under Teresa Seri’s direction, the opera initially took on a jovial tone, with lively children performing antics and excited adults thrilled by the troupe’s arrival, but it grew darker with Tonio’s assault on Nedda, as it moved steadily toward the finale.

Seri’s set was simple, with a circus tent extending from the stage’s right wing and a pushcart resting on the left. The tent served as the primary entry and exit point for the lead characters.

One deft directorial touch was the cast’s entrance through the audience, breaking the fourth wall, and adding another layer to an opera known for its meta-theatricality.

Rowland’s Canio, with his unkempt suit, disarrayed tie, and wavering walk, hinted at the trouble to come. His rendition of “Un tal gioco” was a lesson in raw, seething jealousy. And then there’s “Vesti la giubba,” the renowned arioso. How did Rowland do? He crushed it.

He expertly conveyed the duality of Canio – the raging beast and the broken man. He brought fleeting moments of sympathy for an otherwise monstrous character. His pitch-perfect delivery, and emotional breakdown at the end, set the stage well for the opera’s dramatic climax.

Bethann Dilione’s Nedda was compelling – a resilient yet vulnerable woman yearning for an escape. Her performance of “Qual fiamma avea nel guardo” and “Hui! Hui! … Stridono lassù” encapsulated her character’s simultaneous dread and longing.

Her confrontations with Tonio and Canio were attention-grabbing. Davidson’s Tonio was effectively menacing, while Tim Faulkner’s Beppe was caught in the middle. Kevin Patrick, fresh from his performance as Alfio in “Cavalleria,” played Silvio with unexpected energy.

Bringing it All Together

The three operas DVOC presented revolve around the central theme of marital infidelity, yet each navigates this terrain in its unique way, showcasing varied consequences of betrayal.

In “The Stronger,” we encounter a biting confrontation where an actress “thanks” her friend for refining her husband’s skills in the bedroom.

“Cavalleria” goes into the age-old codes of honor and masculinity. Even though Lola shares equal blame in the affair, it’s Turiddu who pays the ultimate price. Here, the duel between Turiddu and Alfio is not a crime of passion, but a contest to restore reputation.

And then we have “Pagliacci.” where a crime of passion takes center stage. The tragic culmination sees both lovers meeting their doom, a tutorial in the destructive power of jealousy and mistrust.

Had the DVOC performances been consistent throughout, the thematic connections between the operas would have been more pronounced. Instead, the presentation felt somewhat disjointed, as if a modern piece was bolted on, rather than intertwined. And while DVOC’s triple-bill had challenges, it concluded with a real gem.