Sacramento has never been defined by discord or widely divergent aims among its arts organizations.
So, the idea of bringing three of its biggest arts presenters together for one performance seemed like a worthy endeavor.
On Sunday afternoon the Sacramento Opera, the Sacramento Philharmonic and the Sacramento Ballet came together for a program of arias, overtures and arabesques.
For more than two hours these three contributed to a high-octane coming out party to kick off the 2008-09 season.
This was mostly an operatic affair. However, the coming together of dance and orchestral music in the service of opera was delivered with urbane flair. And it didn't hurt that the wide-ranging program was intelligently planned.
As always in such concerts, there is a standout performer. This mantle fell to mezzo-soprano Dana Beth Miller, whose radiant and brilliant voice made the largess of the Community Center Theater feel like an intimate European opera house.
Miller, who made a stellar debut last year as Desdemona in the Sacramento Opera's production of Verdi's "Otello," commanded all three arias she sang. And her voice grew stronger and more complex with each aria. She gave a bracing performance of the "Mon Coeur" aria from Camille Saint-Saens' "Samson et Dalila." She later offered a tantalizing performance from the opera "Adriana Lecouvreur" by Francesco Cilea.
But the highlight of the evening was her super-focused take on "O mio Fernando" from Donizetti's "La Favorita." In this her voice radiated richness and power, as if it were a fiery candle vanquishing the darkness of a dark, loveless room.
Also noteworthy was the bright, supple soprano of Korliss Uecker. In the "Laughing Song" from Strauss' "Die Fledermaus," Uecker doled out masterly comic acting skills. She never overplayed any of the comedy here, instead letting her voice take every lead. In the bewitching "Song to the Moon," from Dvorak's "Rusalka," Uecker proved her range with heartfelt and dramatic singing.
These were but a few of the well-delivered performances that included the warm and idiomatic tenor of Nicolai Janitzky as well as inspired choreography and dancing from the Sacramento Ballet.
Mixing dance with opera selections is tricky. It often makes for a mixed bag feel. However, Sacramento Ballet artistic director Ron Cunningham made crisp use of the small proscenium stage area in front of the orchestra. As a result, the dance and music from the "Waltz and Chorus" from the "Eugene Onegin" had an organic feel to it. This is no easy accomplishment.
The only drawback to this concert was that it was mostly one whose music preached to the converted, rather than reaching out to the convertible. But then again, that may be a battle for another collaboration.
Call arts critic Edward Ortiz, (916) 321-1071
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