Singin' in the garage

Madison's Fresco Opera takes the show to the people

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There's a saying in the opera world that "the only thing more expensive than opera is war" (thank you, J. D. McClatchy). Still, Fresco Opera turns that notion on its head. With its fresh approach, the company strives to make opera more accessible by bringing it directly to the people. And by taking the timeless music of great composers' masterpieces and weaving them into contemporary, oft-satirical narratives, Fresco Opera breaks down barriers and captivates audiences. Its latest production, The Bachelor of Seville, perfectly fits the formula. 

Known as "Garage Opera," these performances occur in people's home garages across Madison and offer a unique and up-close experience. Clocking in at under an hour, this year's production transports us to the world of reality TV's The Bachelor. Figaro, Seville's most eligible man, is searching for true love. On his quest, four bachelorettes join him, eagerly fighting for his love, attention and, ultimately, the last rose.

On June 17 about 75 people set out chairs on the driveway and lawn of an east-side home to watch the production. Director and co-adaptor Melanie Cain's dramatization brings out the show's delight with a solid staging that moves the story forward and helps the performers in their efforts. Her use of the garage door as a curtain to set a new scene was brilliant. Wonderfully, at the end of the opera, when Figaro bestows the rose on his chosen bachelorette, it is underscored by the “Presentation of the Rose" from Strauss' Der Rosenkavalier. That found Easter egg is one of the best examples of what seasoned opera-goers will appreciate and what works in Fresco's approach, a narrative that wife and husband team Melanie and Frank Cain skillfully created.

Overall, the show moves forward at a good clip. Alfredo, who acts as the host of the show, is tasked with keeping the adaptation on track, and tenor George Abbott III does just that. Grady Hayden, who does some beautiful singing in his low range, takes a new approach to the character of Figaro, who is most often played as a mercurial jack of all trades. Here he is a more reserved and stolid bachelor. And Jesse Harrison's “Queen of the Night” aria is appropriately angry and conniving. As in the original Mozart's The Magic Flute, she almost always gets her way.

At times the musicians' approach to the score could have been better aligned with the mode of the composer. Just as in today's music, Dua Lipa does not sound like Billie Eilish; in this case, Puccini should not sound like Mozart. Overall, the works by Mozart could have been cleaner, and the Puccini could have been performed with more abandon. After all, Lauretta is threatening to throw herself in a river if she does not get her way.

That said, singing opera outside, or even in a garage, is challenging, given that a core tenet of the art form is to sing without microphones. That worked better for some than others. Among the performers, there were standouts. Allison Hull, who sang the "Habanera" from Carmen, has a solid vocal technique with a consistent and compelling range from top to bottom. As Susanna, Katie Schmidt takes every opportunity to sing through each phrase with lovely tone. Her voice is matched by Lauren Shafer, who had some of the most beautiful singing of the afternoon.

For opera novices and aficionados alike, I encourage you to attend. And if you go, make sure to bring a lawn chair or blanket, a beverage of your choice, and an open mind. You are in for a fantastic afternoon.

Fresco Opera will be performing The Bachelor of Seville again June 24-25. See frescoopera.com for location details.

Dan Koehn holds undergraduate and doctoral degrees in classical voice and opera from UW-Madison and a master's from the New England Conservatory of Music. He is an award-winning performer and music adaptor, a former director of Opera for the Young and the vice president of Isthmus Community Media’s board of directors.