![]() ![]() Dullness follows, not least during Clara’s replay of Bedford Falls without George, which she offers using only spoken word. Too often, although Scheer cut numerous characters from Capra’s complex film, exposition takes over and temporal openings for arioso vanish. His touching duets for George and his girlfriend Mary lie largely in arioso- first when he claims to lasso the moon for her and then, when Mary proposes marriage. Buoyed on by his arioso writing, Heggie manages to soar over the boundless deserts of accompanied recitative on which so many contemporary operas die. Heggie excels at lovely ariosos (short melodies that don’t quite break into full arias) that hover between recitative and aria. Golda Schultz (Clara) in San Francisco Opera’s It’s a Wonderful Life. Missing is the operatic magic to conjure that love. William Burden brings his splendid tenor and fine acting to the job, but we must love George-as we do James Stewart in the film. ![]() ![]() ![]() Too bad the opera conveys this truth secondarily, via Clara’s narration more than enacting it musically through George. Her omnipresence could turn dull and oppressive, but sparkling South African soprano Golda Schultz brought plenty of charm to this angel.įor Heggie, as for Capra, a meaningful life improves the lives of others, as does George with the family homes built by his savings and loan bank. In the end, Clara gains First Class wings for saving our hero George Bailey from despair (and for reinforcing the core American home town values of Bedford Falls, New York). Canadian soprano Sarah Cambidge, with radiant smile and opulent vocal tone, shines with the quartet of Angels First Class who back up Clara, the aspiring spirit who guides the entire action like a puppeteer. Photo: Cory WeaverĪngels sporting abundant wings frame the staging. A scene from San Francisco Opera’s It’s a Wonderful Life. ![]()
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