|
“More enduring than the show’s message is the rapturous score. The lush fullness of the orchestra weaves a spell that from the very first note begins to dismantle our emotional defenses. (Hats off to [supervising] musical director Ted Sperling and conductor Braden Toan.) “The chorus is strong and beautiful. For me, their festive singing of ‘The Lusty Month of May’ and their more dramatic ‘Guenevere’ at the end of the show were heart-thumping show-stoppers. The orchestra provides a rich, luxurious texture that adds infinite power but never upstages the singers. “When stage director Patrick Hansen and music director and conductor Braden Toan and all of these young musicians came together to produce a classic like ‘Camelot,’ there were bound to be fireworks.” “…Conductor Braden Toan and the Chautauqua Opera Orchestra went from symphony orchestra to pit band in the shake of a baton, and they were delightfully strong and wonderfully versatile.” “…Conductor Braden Toan and the Chautauqua Opera Orchestra were responsive and strong, and made the production far more successful.” “…While City [Opera]’s best efforts have not eliminated the problems posed by this “new kind of show,” they at least remained loyal to Bernstein’s musical vision. Braden Toan led the orchestra in a clear and spirited reading of the score that was never lacking in inventiveness and that rendered nearly every syllable audible.” “…Braden Toan was the scrupulous conductor of the 30-piece orchestra that provided wonderfully poised accompaniment.” “…the 28-player orchestra achieved a rousing, buoyant sound under the invigorating conducting of Braden Toan, and the fresh voices of the relatively young cast did not have to force themselves to make an impression.” |