|Rodion Pogossov (Raimbaud), Lawrence Brownlee (Count Ory) and members of the Seattle Opera Chorus | Photo by Philip Newton|
|Sarah Coburn (Countess Adèle) | Photo by Philip Newton|
|Lawrence Brownlee as Count Ory | Photo by Jacob Lucas|
Part of the comic charm of the opera is the twist in gender roles. In the first act, Adéle feels attracted to the page, Isolier, which is a pants role sung by a mezzo-soprano. Things get crazier in the second act when Ory dresses as a woman (Sister Colette) to pursue the Countess, but he mistakes Isolier for her.
|Sarah Coburn (Countess Adèle) and Lawrence Brownlee (Count Ory) | Photo by Philip Newton|
|Patrick Carfizzi (The Tutor) and Hanna Hipp (Isolier) | Photo by Philip Newton|
In the title role, Lawrence Brownlee hit all of the high notes and then some with breathtaking ease and elicited laughter as the lascivious yet slightly inept womanizer. Sarah Coburn sang brilliantly and generated barrels of laughter when she shook like a leaf while being enthralled by Ory’s Bhagwan-hermit. After intermission, Colburn deftly created a flummoxed Countess who had to repel the advances of Ory’s Sister Colette. Hanna Hipp’s animated Isolier was fun to watch and her singing was superb. Rodion Pogossov created a rousing Raimbaud, and Patrick Carfizzi’s Tutor had world-weariness to spare. Maria Zifchak gave a solid performance as the rightfully suspicious Lady Ragonde.
|Rodion Pogossov (Raimbaud) with members of the Seattle Opera Chorus | Photo by Philip Newton|
|Members of the Seattle Opera Chorus | Photo by Philip Newton|