Set in a long single act in two parts separated by the famous orchestral intermezzo, Cavalleria is a compact proposition that still requires a lot of work from the choir.

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Over the past two years, Vancouver Opera has made some very good decisions – and been a bit luckier too.

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Just before the Omicron wave hit, in-person productions resumed with a dance-focused Orfeo ed Euridice. This weekend, an impressive Cavalleria rusticana was presented in concert opera with a full choir and orchestra, as well as soloists.

Judging by the packed houses this weekend, it looks like Vancouver is getting closer to the concept of opera in concert. Unlike the over-the-top and very expensive shows that marked the Kim Gaynor era, this was a hands-on proposition, omitting sets, costumes and conventional staging. With some effective movement, good lighting, and effective surtitles to convey who was who and what was what, it all fell into place.

Pietro Mascagni’s one-act hit isn’t particularly subtle, but he didn’t keep a foot in the repertoire for nothing. In concert it might be easier to recognize how the young composer has string together a number of evocative pieces, but there’s more to it, starting with a lush, very colorful score and plenty of effective bits for the little one. group of singers.

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The role of Mama Lucia, for example, is little more than a series of cameos, but mezzo Leah Giselle Field, a graduate of the Yulanda M. Faris Young Artists Program, acquitted herself admirably. Another mezzo, Hillary Tufford, sang Lola and almost stole the show with a bit of coy showmanship. Baritone Gregory Dahl played cuckolded cart driver Alfio, a bigger role he made the most of.

Canadian soprano Othalie Graham had a lot of vocal work to do as Santuzza; his reading was strong on the drama but not particularly nuanced. Cavalleria is one of those operas where it takes time for the tenor to show up; but when he did, David Pomeroy delivered with confidence and style.

Set in a long single act in two parts separated by the famous orchestral intermezzo, Cavalleria is a compact proposition that still requires a lot of work from the choir. And as VO general manager Tom Wright explained, giving both choir and orchestra a chance to shine was an integral part of the plan. It was also an opportunity to find the musical director emeritus Jonathan Darlington after too long an absence.

At the time, Darlington always got the most out of their actors and musicians, and we missed their consistent professionalism and inspired musicality. Being able to see exactly how Darlington works his magic from the start was the best part of the business. The palpable enthusiasm of the public gives us hope for more Darlington and more live opera in the future plans of the VO.