Rimrock Opera | Tosca

It’s down to the wire for Rimrock Opera Company’s autumn production of “Don Giovanni.”

One of opera’s most colorful sinners will be played with gusto by Metropolitan Opera star bass, Craig Hart, when he makes his ROC debut in the title role.

The Mozart opera hits the boards at the Alberta Bair Theater Friday and Sunday, Oct. 24 and 26, leaving a day of rest in between for the singers to pamper their voices for the rigorous weekend.

ROC artistic director Douglas Nagel is excited with his cast, “top notch without exception,” he promises.

Besides Hart, who is a fishing buddy of Nagel’s, has lured Deborah Longino to sing Donna Elvira. An old friend and singing buddy of Nagel’s, she is remembered in Billings for her striking work as ROC’s Tosca. Nagel will sing a part, too, taking on the role of Leporello, one of four difficult and showy bass roles in the opera. Nagel has sung all but Masetto in seven different productions.

“In fact, I know most of these gifted singers through other opera productions,” Nagel said this week. “Craig and I met at Opera Idaho in ‘La Boheme’ in 1997 and spent time shopping together at Eddie Bauer and fishing tackle shops.”

The two also appeared together in “The Flying Dutchman” in Buffalo, N.Y.
Nagel’s gift for cross pollination helped lure Barbara Day Turner back to conduct the pit orchestra. It’s her third Billings appearance and Nagel met her 21 years ago when Turner’s sister introduced them during a rehearsal at the Conservatory of Music in San Francisco. Her husband, Daniel Helfgot, worked with Nagel at West Bay Opera in Palo Alto, Calif., in 1986. He is stage director of “Don G.”

ROC goes international with soprano Sandra Rubalcava, born in Guadalajara, Mexico. She is a fourth-year resident with Opera San Jose, where Nagel met her. He enticed her to Billings to sing the role of Donna Anna.

In keeping with the ROC’s mission to give local and regional opera singers the opportunity to perform with national and international stars, Nagel booked Karen Clift, of Sheridan, Wyo., to sing the role of Zerlina. “She’s a real find and this is her ROC debut,” says Nagel. She teaches voice and is a homemaker in Sheridan, with numerous CDs to her credit.

Jan Michael Kliewer, Powell, Wyo., and Edward Harris, Billings, appear again, as Masetto and Commendatore. They are favorites with ROC fans.

Nagel is also proud of “Eastern Montana’s gift to the opera world.” He booked tenor Christopher Bengochea for the role of Don Ottavio. “He’s a Brockton boy and has great personality and potential,” says Nagel. He played the part of a smuggler in Carmen.

Turner and Helfgot spend time at the University of Missouri, Kansas City, where he is director of opera. She is well known nationally as guest conductor. Don_Giovanni

Able musicians sensitively conducted by maestro Barbara Day Turner provide the essential ingredient for seamless delivery of the goods in Rimrock Opera Company’s latest endeavor.

The story of the shameless title character, a lothario with no self-control, has been a favorite with audiences and singers since it debuted in Prague in 1787. Alberta Bair Theater-goers have only a single Sunday chance left to enjoy the fruits of ROC’s labors.

Mozart set the tale in the mid-1600s in the Spanish city of Seville. Beautifully painted set pieces establish a grand and gothic backdrop for the ageless story of this charming bad boy.

ROC artistic director Douglas Nagel produces the sophisticated endeavor, directed with humor and panache by Turner’s spouse, Daniel Helfgot, director of opera at University of Missouri.

Nagel steals the show, in all the right ways, as the grumbling gigolo-wannabe, second banana to his master, Don G.

It is appropriate that Nagel’s comically put-upon, day-saving character, Leporello, is first on stage. Nagel, after all, is the inspiration and spiritual guide of ROC.

His stage savvy is matched by Craig Hart in the title role – cunning and puffed up with bravado as he woos women of all ages, shapes and sizes.
As Leporello tells us in a spirited accounting, he likes fat ones in the winter and slim ones in the summer. Rank is of no importance.

For Don G., the conquest is the game, but he meets his intellectual match with Donna Elvira, delightfully portrayed by Deborah Longino, remembered for her passionate Tosca. She, along with Hart, are old friends of Nagel’s from Opera Idaho.

The major players are all strong and perceptively cast to blend voice and body type, including Wyomingites Jan Michael Kliewer and Karen Clift as the likeable peasants Masetto and Zerlina.

Nagel’s casting genius brings a gem to light with Christopher Bengochea’s Don Ottavio, a fresh find from the small community of Brockton. He adds personality and passion as Donna Anna’s intended.

In the latter role, Sandra Rubalcava cuts a dashing stage presence as she has done with Nagel in his training ground, Opera San Jose. In his brief role as the Commendatore, snuffed out early on by the Don, Ed Harris contributes his usual sound vocal strength. But he deserves greater kudos for his masterwork with the chorus, whose Italian sounds delightful.

The look is good, too, as the choristers dress the stage with bits of business and stop short of mugging to preserve the critical cohesive sound.

What a pleasure to hear so many fine bass voices in the Don, Leporello, Masetto and the commandant. But, truly, there are no weak vocal links here.
Masks, cloaks and wigs contribute stylishly, and Barbara Hogg’s costume work is superb. Many behind-scenes efforts reap rewards, from ROC boosters John Baber, Dorinda Doolittle, Bernard Rose, Jeff Boschee and Sandi Rabas, whose steady contributions range from managing the orchestra to lighting design and rehearsal pianist. The ROC orchestra is bold but not overpowering.

This is a must-see for opera lovers, and all of us proud of ROC’s continuing integrity and promise. If the action and music don’t sweep you away, you need an artistic jump-start. Or you may join Don G., in a fiery gulf of regret.