The Symphony of the Americas' Opera to Broadway program on Tuesday night at the Broward Center's Amaturo Theater mixed crowd pleasing favorites with less familiar fare for a cornucopia of music from the operatic stage and the Great White Way. Joined by four outstanding singers, Maestro James Brooks-Bruzzese and the ensemble were in prime form.
Polish baritone Marcin Bronikowski brought the house down with his rendition of Escamillo's Toreador Song from Bizet's Carmen. His sizable voice and dignified manner propelled Cesare Andrea Bioxi's Mamma, an Italian chestnut sung with warm tonal heft and flowing musical line. He was joined by Donna Balson for a mellifluous version of the Don Giovanni-Zerlina duet La ci darem la mano from Mozart's Don Giovanni. The duo also offered a beautiful All I Ask of You from Andrew Lloyd Webber's record breaking musical Phantom of the Opera, Balson's voice sumptuous and opulent. Balson's dark, dusky lower register ignited sparks in Voi lo sapete from Mascagni's Cavalleria Rusticana, her vocal enactment of the heroine Santuzza's tragic circumstances deeply emotional and dramatic.
Soprano Courtnay Budd was an utter delight, her coloratura glittering in the tricky roulades of Qui la voce - viendiletto from Bellini's I Puritani. She sang Johann Strauss' Voices of Spring with the idiomatic fluency of a born operetta performer. Her trills were pinpoint perfect, the style appropriately dipped in Viennese schmaltz.
Tenor Carlos de Antonis revealed a true Italianate voice with plenty of ring and squillo. He sang Nessun Dorma from Puccini's Turandot with fervor, capped by an interpolated high note. An unusual arrangement mixed Leoncavallo's Mattinata with Rodgers and Hammerstein's Oh What a Beautiful Morning from Oklahoma, De Antonis' tone and vocal sonority golden. In Che gelida manina from Puccini's La Boheme, De Antonis left no doubt that he is the authentic article - his high C ringing the house and final pianissimo meltingly beautiful. He brought real passion and conviction to Rodolfo's narrative.
Brooks-Bruzzese opened the evening with the Overture to Bellini's Norma, played with sparkle and full, resonant orchestral sonority. The Overture to Mozart's Idomeneo was particularly outstanding. In a crisp, precise reading, Brooks-Bruzzese did not neglect the weight and drama behind the opening of Mozart's opera seria.
Gershwin by George, a terrific arrangement by Jerry Brubaker, mixed Strike Up the Band, I Got Rhythm, Embraceable You and Summertime with excerpts from American in Paris, Rhapsody in Blue and the Prelude No. 2 - the composer's classical side. The orchestra sounded terrific in this inventive medley, especially the bluesy trumpet solo. A highlight of Bob Lowden's arrangement of music from Marvin Hamlisch's score for the landmark musical A Chorus Line was the orchestra's lustrous playing of What I Did for Love.
The concert concluded with the finale from Act III of La Boheme, the contrasting scene of Mimi and Rodolfo deciding to part but only when spring arrives while Musetta and Marcelo quarrel. Budd was a wonderfully lyrical Mimi, her voice soaring and De Antonis' sound was robust and intense. Bronikowski and Balson were characterful and lively. The four voices blended gorgeously and Brooks-Bruzzese coaxed lush and radiantly theatrical playing from the ensemble, concluding a banner evening of fine singing and gorgeous music from the lyric stage.
The Symphony of the Americas repeats Opera to Broadway 2 p.m. Sunday at the Amaturo Theater. www.symphonyoftheamericas.org 954-335-7002
