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Life & Arts

Flavorful 'Flavio' pleases audiences

by MONICA GRANGER
The Daily Cougar

Houston is known more for oil than operatic firsts, but last Friday it got one, compliments of University of Houston students and faculty in the Moores School of Music, with the citywide premiere of Flavio. 

The show promised much and mostly followed through with the production adapted from days of monarchy to Hollywood in the 1930s. Flavio, sung spot-on by Bonnie Wellington, is king in this world over Lombardia Films.

A light-hearted Baroque prelude outlines the major musical themes for the audience, starting with playful music for secret lovers Vitige and Teodata and ebbs through the somber strains that follow star-crossed newlyweds Guido and Emilia, played by contralto Melissa Fife and soprano Ashlyn Rust, respectively.

The opera opens with Vitige, played by energetic soprano Julia Foster, and the lovely Teodata, played by contralto Katherine Young, sharing an early-morning lovers' farewell full of lyrical and physical teasing. Vitige hastily takes his leave as Teodata's father Ugone, played by tenor José Hernandez, arises. 

Ugone heads a production unit for Lombardia Films and introduces Teodata to Flavio. Enter Lotario, father of Emilia played by velvety bass Wayne Ashley, with a wedding invitation for Flavio who accepts it gladly. 

When a letter of resignation arrives from the director of Lombardia's British film studios, Flavio first gives the coveted post to Lotario, and then to Ugone, presumably so Flavio can better entrap his daughter. But Ashley's song lacks the wrath necessary to operationalize his vow of vengeance, and the opera loses the momentum of the threat. 

Lotario strikes Ugone, who then convinces son Guido to avenge him. Guido wields a sword and vows revenge. Hernandez wonderfully captures the rage of Ugone with potent intergrity. 

There are also classic film clips played on a screen during scene changes that at times are distracting and distinctly noncongruent, as with the brontosaurus clip. 

As Ugone leaves for his post in England, Houstonians leave for home having seen the potential for an intricate and enrapturing opera, but yearning for a more technically proficient Houston premiere.

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