Review: An Opera Grows in Brooklyn, Part II - Regina Opera Looks at LUCIA

On the surface, LoftOpera and Regina Opera couldn't be more different--the former turning away hipsters in East Williamsburg (call it Bushwick), the latter providing a matinees-only environment for a family audience. But these two Brooklyn institutions do have one important thing in common: They respect the classics (TOSCA and LUCIA DI LAMMERMOOR, respectively)--do them up simply and well, and reach their audiences without gimmicks (or high prices). And, I found, their performances were more enjoyable than recent big-name outings of the same titles in New York, with performers who stood up well against better known singers.

Even though Sunset Park West was hailed by the New York Times earlier this year as one of the city's "next hot neighborhoods," the trek from the 59th Street stop on the N train to the Regina Opera's home behind the enormous Our Lady of Perpetual Help church still seemed to be from a simpler time.

The Regina has been trodding the opera boards at various venues in Brooklyn since 1970, as it attempts to provide "a showcase for singers to perform the standard operatic repertoire, primarily in the original language, in fully-staged productions with orchestra" and to deliver "great opera performances at reasonable prices." Judging by the company's take on Donizetti's LUCIA DI LAMMERMOOR, which finished its run on Sunday, the Regina doesn't have a hipster bone in its body, which, I think, would have been just fine with composer Donizetti. It was certainly fine with the enthusiastic audience.

Straightforwardly directed by Linda Lehr, with lighting and a traditional set design by Tyler Learned, the production trusted the opera to do its magic (unlike Mary Zimmerman's take at the Met) and put the music and singers at the forefront.

Soprano Meghan Picerno gets high marks for her Lucia, tossing off the high notes and high drama with aplomb. From her Act I entrance in "Regnava nel silenzio," to the demanding Mad Scene ("Il dolce suono... Spargi d'amaro pianto") in Act III, she was in total control of the stage, with pure and accurate singing. As her brother, Enrico, Nathan Matticks did a fine job with his suave baritone even making that tricky transition--from political animal who wants to marry off his sister for personal gain to horrified brother of the mad Lucia--seem natural.

Tenor Heejae Kim took some time to warm up, but provided the dynamic clarity for the Tomb Scene that ends the opera. The voices of Picerno, Matticks and Kim--along with bass Steven Fredericks as Raimondo, tenor Christopher Eaglin as Arturo and mezzo Noelle Currie as Alisa--were woven into an impressive ensemble in the incredibly demanding sextet, "Chi mi frena in tal momento," at the end of Act II.

As with LoftOpera (see Part I of this series), the orchestra could have used more rehearsal but conductor Dmitri Glivinsky propelled things along nicely.

Next on the Regina Opera's agenda is Puccini's MANON LESCAUT--a bold move in a season when the Met has a new production. Though, come to think of it, it will be interesting to see a more straightforward approach after Sir David McVicar's Nazi-tinged take on it.

MANON LESCAUT, May 14, 15, 21 and 22 at 3 pm. A free concert from the company will take place at Raymour & Flanigan's on East 14 Street in Manhattan, on March 20 at 3 pm.

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