An Admirable ‘Rigoletto’

An ominous sign in the Segerstrom Hall lobby warns Opera Pacific patrons that “strobe lights will be used in this production” of “Rigoletto.” Not to worry: Either those lights never materialized at the opening performance Saturday night--or they were absorbed in the general thunder-and-lightning effects of Act 4.

Indeed, this solid realization of Verdi’s “first certifiable masterpiece” (Stephanie von Buchau’s description in her bright, readable program notes) proved dramatically soothing, was never visually irritating and, under the leadership of conductor Steven Mercurio, was musically admirable.

The aging but handsome production (originally designed by Lawrence Schafer for Canadian Opera and seen in San Diego 10 years ago) is presentable, especially as effectively lit by Stephen Ross. Zack Brown’s burnished, Renaissance-style costumes look rich. Dejan Miladinovic’s unobtrusive staging works well throughout.

None of the principals at the Orange County Performing Arts Center on Saturday (three new ones were due Sunday afternoon) caused the blood to rush or the heart to flutter, but they lived up to the demands of their roles and made legitimate Verdian sounds.

Mark Rucker’s compact jester operates within limited histrionic and vocal palettes yet manages to create many striking musical moments as well as strong climaxes. In Rucker’s performance one sometimes misses the actual connection between vocal richness and dramatic point, causing a disruption of credibility.

Slow to warm up, Mary Dunleavy’s Gilda reached her vocal plateau just as “Caro nome” began; the American soprano’s solid, if seldom touching, musical characterization was enriched by the reliability of her technical resources. Still, Dunleavy never truly enlisted the observer’s sympathies. As a result, in the final scene, Gilda became a dumb sucker rather than a noble martyr; Verdi’s music indicates otherwise.

Handsome Mexican tenor Jorge Lopez-Yan~ez looked and acted a model Duke of Mantua and sang with fervor throughout, despite some oddball crooning midway through “La donna e mobile.” Kate Butler brought musical reliability and a very attractive stage presence to the role of Maddalena. David L. Michael made an impressive company debut as her brother, a sensuous Sparafucile, complete with a full, low F at the end of his first scene. The rest of the name-cast proved serviceable at best.

Throughout, the well-balanced men’s chorus sang solidly.

* Opera Pacific presents “Rigoletto” Wednesday and Saturday at 8 p.m. at the Orange County Performing Arts Center, 600 Town Center Drive, Costa Mesa. Tickets: $22-$89. (714) 740-OPERA. Three other principals sing Sunday at 2 p.m.