Concert Operetta presents 'Paganini'

The chamberlain’s advice to Paganini sums up the general atmosphere. The Prince can live with Paganini’s affair with his wife, the chamberlain says, but he’s going too far when he pursues the Prince’s mistress. “No husband can tolerate that.”

This is the first time I’ve been disappointed in a Concert Operetta production. Lehàr’s script for this operetta seemed amateurish. Concert Operetta usually captures most of the glamour and glitter of Viennese operetta, even though it operates concert style, without the benefit of scenery and elaborate styling. This time, it couldn’t overcome the weakness of the non-musical theatrical elements.

A little bit softer now

The singers in this production were all making their Concert Operetta debuts and still hadn’t developed appropriate styles. Most young vocalists today focus on opera, with its big arias and grand passions. Operetta demands a lighter approach.

In the title role, AVA student Piotr Buszewski proved he has a powerful tenor that should win him a place on the world’s opera stages, but he sang most of his songs as if he was reaching for the top balcony in a big opera house. He proved he can adopt a softer approach when he sang a song with the refrain, “I’m a man, I kiss where I can.” For that little ode to a standard male attitude, he came off the stage, positioned himself beside the piano, and delivered an engaging cabaret performance.

The two singers who had the best grasp of operetta style were baritone Aaron Jacons Keeney, playing the chamberlain Pimpinelli, and soprano Keely Bosworth Borland, playing the opera singer Bella Giretti. Soprano Jessica Lennick brought the afternoon to an appealing close singing a soft, low-keyed lament as she gave up her hold on Paganini and let him bring his gifts to the world. In the world of operetta, less really can be more.