PACIFIC OPERA PROJECT UNEARTHS A TREASURE
In the often unexplored corners of the operatic repertoire lie forgotten gems that, when rediscovered, shine brightly. Pacific Opera Project’s revival of Don Bucefalo by Antonio Cagnoni is one such treasure. Premiering in Milan in 1847, Don Bucefalo enjoyed considerable success in its time but has since slipped into obscurity. Its blend of infectious humor, buoyant melodies, and sharp characterization make it an ideal candidate for a modern revival, especially under the nimble direction of Josh Shaw. This delightful production proves that the Don deserves far more frequent outings.
The plot is typical of opera buffa’s penchant for lively, comedic misunderstandings and colorful characters. Don Bucefalo, a pompous yet endearing music teacher, arrives in a small village and convinces a motley group of locals to participate in an amateur opera. His efforts, however, are met with a series of complications, from romantic entanglements to rivalries, as the inexperienced villagers struggle to hit the right notes. It’s a classic setup for farce, but Cagnoni’s score elevates the narrative, imbuing the comedy with musical sophistication and charm. The result is a lighthearted opera that echoes the work of Rossini and Donizetti, yet with Cagnoni’s own youthful exuberance shining through in every scene.
Indeed, Cagnoni wrote the opera when he was just 19. He was a prodigious talent whose work has unjustly faded from the operatic landscape. Don Bucefalo stands out not only for its melodic inventiveness but for its deft use of ensemble writing and its colorful orchestrations. The opera showcases Cagnoni’s knack for weaving together multiple voices into complex yet cohesive musical numbers; nowhere is this more evident than in the show-stopping septet in Act II. Here, the characters’ conflicting emotions and motivations are layered into a dynamic, harmonically rich ensemble, capturing the essence of comic opera at its finest.
Under the baton of musical director Kyle Naig, this intricate music was brought to life with vitality and precision. The upstage orchestra, cleverly reduced to suit the smaller performance space, never overwhelmed the singers but instead supported them with a transparent, lively sound that allowed Cagnoni’s score to sparkle. Particularly striking was the use of woodwinds, whose playful interjections mirrored the comedic antics on stage, adding an extra layer of humor. Naig’s leadership ensured that the pacing never lagged, keeping the energy high from the playful overture to the final notes of the ensemble finale.
Shaw’s directorial vision further enhances the charm of this rarely performed work. He wisely chose to transport the setting to the 1960s, drawing inspiration from the venue in which the opera is performed, an intimate Italian-American social club with vintage décor still intact — Casa Garibaldina is imbued with retro charm. This choice not only lends the production a unique visual identity but also complements the playful, self-aware nature of the opera buffa genre. (This production offers both a table and general seating, with an optional Italian dinner add-on complete with pasta, salad, and wine.) Shaw’s staging is full of clever touches, from the exaggerated conducting gestures of Bucefalo to the humorous entrances and exits that punctuated the scenes. Physical comedy was deployed with precision, enhancing the farcical elements of the plot without tipping into slapstick. The result was a production that balanced lighthearted fun with a genuine affection for the characters and the music.
At the heart of this production is Armando Contreras, whose portrayal of the title character was nothing short of a revelation. Contreras’s baritone voice proved ideally suited to the role, handling the intricate patter songs with enviable ease and clarity. His ability to navigate Cagnoni’s rapid vocal passages, all while maintaining impeccable Italian diction, was a testament to his technical skill. Yet it was his comedic timing and charismatic stage presence that truly brought Don Bucefalo to life. Contreras saturated the character with a blend of arrogance and vulnerability, making him both laughable and endearing. His exaggerated facial expressions and animated physicality elicits frequent laughter, yet he never allows the comedy to undermine the sincerity of the role. Contreras’s performance is a masterclass in balancing humor with vocal artistry, and he commands the stage with ease. Casting agents searching for the next Luca Pisaroni or Alessandro Corbelli (today’s leading opera buffa baritones) should head to YouTube to witness Armando Contreras’s masterful performance.
Contreras is ably supported by a talented ensemble cast, each of whom brings their own comic flair. Veronique Filoux is particularly impressive as Rosa, the young soprano whose musical aspirations drive much of the opera’s action. Filoux’s voice is bright and agile, soaring effortlessly over the orchestra in her arias. Her Rosa has a youthful charm and energy, making her a sympathetic character amidst the comedy. Her duets with Carlino, played by the warm-voiced Eric Botto, are among the evening’s highlights. Botto’s portrayal of the lovelorn Carlino was both whimsical and touching, particularly in his Act II aria, where his character’s confusion and romantic longing are conveyed with heartfelt sincerity.
The supporting cast is equally strong. Joel Balzun’s Don Marco Bomba, a buffoonish local “authority”, provides a perfect foil to Contreras’s Don Bucefalo, delivering his lines with impeccable timing; his booming bass voice that contrasts nicely with the lighter voices around him. Erin Alford is entrancing as Agata, the town’s busybody, her mezzo-soprano voice adding richness to the ensembles. Her comic timing was spot-on as she navigated her character’s many missteps and misunderstandings. The ensemble scenes, a hallmark of opera buffa, are handled with precision and energy by the entire cast. The Act I finale, in particular, is a tour de force of overlapping lines, frenetic pacing, and comic confusion, as the various characters’ misunderstandings escalate to a captivating cacophony.
One of the strengths of Don Bucefalo is its ability to balance large ensemble pieces with intimate character moments, and this production succeeded in highlighting both. The interplay between the singers is natural and well-rehearsed, and physical comedy is timed to perfection. Yet, despite the lightheartedness of the material, there are moments of genuine emotional depth, particularly in the arias and duets where Cagnoni’s bel canto influences come to the fore. These quieter moments allowed a connection with the characters on a deeper level, providing a counterpoint to the broader comedic strokes of the ensemble numbers.
Pacific Opera Project’s revival is not just an evening of entrancing, exciting entertainment; it’s a reminder of the rich treasures that lie dormant in the operatic repertoire, waiting to be rediscovered. With its winning combination of superb singing, witty direction, and an energetic orchestra, this production ensures that Cagnoni’s forgotten masterpiece is back into the spotlight, where it deserves to remain. The enthusiastic response was a testament to the enduring appeal of this comic gem. Don Bucefalo has been given a new lease on life, and one can only hope that this sparkling comedy will make it into the repertoire of more American opera companies.
I eagerly anticipate POP’s upcoming production of Salieri’s seldom-staged La Scuola dei Gelosi, a comic opera that stands just shy of masterpiece status. With a bewitching score and a sharp libretto that explores themes of jealousy, class, and the absurdities of human nature, this work has long been eclipsed by Mozart’s Da Ponte trilogy and Rossini’s effervescent comedies. Yet, under the skilled direction of Josh Shaw — who has shown a remarkable talent for casting and staging Italian comic opera — it promises to be a highlight. I am keen to see how Shaw brings fresh vitality to yet another overlooked gem.
photos by Jason Williams for Pacific Opera Project
Don Bucefalo
Pacific Opera Project
The Garibaldina, 4533 N Figueroa St in L.A.
remaining performances
Friday, November 8, 2024 at 7:30
Saturday, November 9, 2024 at 7:30
Sunday, November 10 at 3
for tickets ($20-$55), visit POP