It doesn’t matter from which direction you approach the War Memorial Opera House. That alone makes “Girls” an opera for our time. And there was no sense of, let alone regard for, the earth-shaking social implications that a sudden infusion of massive wealth would have on the state, the nation and ultimately the world. The California Gold Rush was a young man’s game of strike-it-rich. “The Girl of the Golden West” is a beautifully articulated experience worth seeing.There weren’t very many girls to choose from for John Adams’ new opera, “Girls of the Gold West,” which had its premiere here last week. From the smallest of touches - silently suggesting the heartbreak and tender loneliness of the characters - to the grand visual strokes, such as the blizzard that has taken over the mountains as the Sheriff’s search party fans out, he hits the mark every time. He is another of the aces in this production.ĭirector Groag is an ace as well. Baritone Mark Walters, as the gambling, love-torn Sheriff Jack Rance, has the most impressive voice in the show. Gardner and Honeywell have chemistry, lifting the drama to another level. His voice soars with emotion and great sustain. He is torn between his lust for gold and love for Minnie. Honeywell is emotionally strained throughout. Tenor Roger Honeywell, as Dick Johnson, excels as well in his acting, portraying the enormous effect Minnie has upon him - enough to shake the foundations of his bandit’s soul. In addition to the music of Puccini, she is one of the aces in this production.
In a nuanced performance, Gardner evokes both hesitancy and assuredness, vulnerability and strength, as well as worldly innocence, maternal protectiveness and fierce resolve. Her acting, however, is what stands out the most. Her singing has great emotional range, impressive clarity and flawless dynamic control. Gardner takes command of the production as well, and never lets go. Midway through the first act, Minnie, played by Jill Gardner, is the pistol-packing saloon owner who makes a dramatic entrance, taking command of an all-out barroom brawl, skillfully choreographed by Erik Gaden. Lighting designer Adam Greene’s work stands out.Īs the light comes up on the opening scene, a saloon with boisterous miners glad-handing and back slapping, loners swigging from bottles, animated card games, solitary whittling, and tender homesickness are all part of the tableau. As the curtain rises, Director Lillian Groag’s vision is revealed: a stupendous set and scenery designed by John Conklin with beautifully convincing costumes designed by Constance Hoffman. He summoned the gloriously romantic, cinematic music with crisp execution, from the foreboding power of the percussion to the romantic beauty of the strings to the pastoral shades of the horns. Harrison Opera House in Norfolk, Andrew Bisantz’s conducting was the first of many master strokes. Gambling and risk set the tone woven through Giacomo Puccini’s opera “The Girl of the Golden West.” Virginia Opera’s production of this classic, which opens at Dominion Arts Center this weekend, is a sure thing, delivering an unbeatable hand. Virginia Opera’s production of Puccini’s “The Girl of the Golden West” features Mark Walters (from left) as Sheriff Jack Rance, Jill Gardner as Minnie and Roger Honeywell as bandit Dick Johnson.