Review: Der Freischütz

Vasil Garvaliev as Kaspar. Photo by Bruce Zinger.

Hey Man, Nice Shot!
by Shannon Christy
@schristy79

When Opera Atelier’s Co-Artistic Director, Marshall Pynkoski, came out and said this is the most excited he had been since 1991, the audience broke out in laughter. It was not a joke. He was excited because the Opera Atelier, he proclaims, “is taking a giant step in a different direction” and their production of the Romantic period opera Der Freischütz (The Marksman) is the first step in that direction. Apparently the excitement had spread throughout every element of the cast creating a work that hits its mark in achieving the Opera Atelier’s objective of creating historically informed period works, which take their own place in history.

Conductor David Fallis provided a beautiful accompaniment throughout the work and his connection with individual performers as well as the chorus is clear throughout the performance.

The Marksman is a masterpiece by Carl Maria Von Weber and is considered amongst the earliest works of the Romantic period. The story takes place in a rural German town with a Marksman named Max (Krešimir Špicer) who is about to gain the hand of the girl he loves and become a head forester if he can only make a shot. Unfortunately, he has not hit anything for a very long time and has become the laughingstock of the locals. This sets Max on a path towards destruction and ill begotten oaths to the master of darkness, Samiel. His love, Agathe (Meghan Lindsay) is just as anxious and sure that DOOM lurks around every corner. However, great comedic relief comes from Agathe’s companion, Äanchen (Carla Huhtanen) who explains to the bride to be (Agathe) the techniques and benefits of flirting with younger men.

Mr. Špicer is brilliant as Max. His acting and voice range are spectacular. When he is deciding whether or not to enter the Wolf’s Glen to have a concert with the Devil his angst is palpable. This is equally true of his nemesis, Kaspar (Vasil Garvanliev), whose plots and dark alliances place Max in his hands. 

This consistency cannot be said for Agathe (Meghan Lindsay). During her aria in Act II “Wie Nahte Mir Dem Schlummer” she is magnificent and shines brighter than any of the stars she is immersed in. She is a woman whose love is about to be torn from her and who has a foreboding sense that tragedy is about to destroy her.  Her face and vocal restraints, which soar before being ripped from above to the uncertain future of despair, are breathtaking. However, during her Aria “Und Ob Die Wolke Sie Verhulle” of Act III she barely hits her notes. It was as if someone had taken possession of her voice during intermission. 

Conductor David Fallis provided a beautiful accompaniment throughout the work and his connection with individual performers as well as the chorus is clear throughout the performance. During some of the earlier acts the hunters' horns begin the piece only to be replaced by a chorus that mimics the sounds. In a couple of instances, particularly in the solos with Max, the connection and play between conductor and performer are apparent. 

These musical performances are placed in the visually rich and creative sets of Gerard Gauci. His use of modern technologies to create the sinister Wolf’s Glen and the starry night are but two examples of a piece where the scenery is enchanting.

Of the many delights, one departure stands out, the singspiel was in English. Because these spoken parts have nothing to do with the actual music, changing them to English does not impact either the performances or the original intent. Instead it draws the audience away from the surtitles and to the actors’ performances. It was a brilliant and triumphant step across what constitutes a period piece. 

Der Freischütz definitely hits the mark. It is a wonderful work of artistic license; creativity, and historical achievement, which justifies just why Marshall Pynkoski was so excited. This excitement seems to have been shot into the performances, the stage design, the musicians and the audience. Unfortunately the performances continue only until November 3rd.

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