MUSIC REVIEW : Zarzuela Breaks Spanish-Language Ice

The offerings of local arts organizations rarely suggest that San Diego is a border town with a significant Spanish-speaking population. But there are efforts by some local groups to correct this situation. Among those by theater companies, for example, is the San Diego Repertory Theatre’s “Latins Anonymous,” which recently inaugurated the group’s season with a well-reviewed, extended run in downtown San Diego.

On the music front, however, a visitor might surmise that the local Latino contribution is limited to strolling mariachis.

This era of musical neglect may be on the wane, however, as indicated by the efforts of the San Diego Lyric Opera Assn., which opened “Luisa Fernanda,” a Spanish-language operetta--properly called a zarzuela--Thursday at the East County Performing Arts Center.

Produced jointly with the Grossmont College Opera Theatre, “Luisa Fernanda” had some of the liabilities attending collegiate opera workshop productions, notably more enthusiasm than polish, but it whetted the appetite for more solidly professional forays into this unique repertory.

The production’s strength came from conductor Federico Moreno-Torroba Jr., whose impassioned direction gave the colorful score a stylish, melodramatic flair. Understandably conversant with the music’s most intimate details--his father, Federico Moreno-Torroba, composed it--the conductor molded his 40-piece pit orchestra into a respectable ensemble.

Composer Moreno-Torroba’s musical idiom may be conservative, but his music’s vitality, wealth of melodic invention and subtle orchestration places it in the mainstream of fellow countrymen such as Joaquin Rodrigo.

Set in 19th-Century Spain, “Luisa Fernandez” interweaves that nation’s internal political strife into a predictable romantic triangle. As the romantic lead Javier, the dramatic tenor Bernardo Vazquez blew everyone else off the stage. Except for the unseemly forcing of a few high notes, Vazquez’s rich vocal timbre brought genuine operatic thrills to the modest performing arts center audience. Like some operatic tenors, however, Vazquez ignored the acting requirements of his role, appearing to be more in love with the sound of his own voice than enamored of the two leading ladies.

Attractive and poised, mezzo-soprano Terri Oliva sang the title role sweetly. Soprano Ellen Lawson chirped through the part of Duchess Carolina, Luisa Fernanda’s rival, although Lawson convincingly communicated the role’s aristocratic caricature. Baritone Carlos Oliva lacked vocal polish, but his vivid characterization of Don Vidal Hernando, the older suitor who relinquishes Luisa Fernanda to Javier, enlivened the static dramaturgy. Stage Director Elizabeth Kimery stuck to the obvious, although a committee of choreographers provided welcome relief with intermittent folk dances.

Several character roles deserve praise, including Nancy Jimenez-Taboada’s mothering busybody Mariana, Robert Bacalski y Martinez’s energetic comic relief as Anibal, and Richard Geiler’s pearly tones as the street singer. Linda Gilbreath’s picture post card scenery economically evoked the period, and Brian Bennink’s lighting scheme proved most flattering to the modest production.