Opera Embellishes the Endearing Charm of ‘Little Women’

Beautifully wrought, tightly executed and consistently entertaining, the local premiere of Mark Adamo’s 1998 operatic setting of Louisa May Alcott’s “Little Women,” seen at the first performance Saturday night in the Irvine Barclay Theatre, is a joy in every way.

Opera in English, an old American musical ideal often forgotten, makes an impressive, reassuring reappearance here. Not surprisingly, the squeals of delight coming out of the Opera Pacific audience attested to the many joys and satisfactions still possible in that old concept.

A strong, poetic text, clearly delivered, married to music of charm and tunefulness and in the language of the audience, will always win over its listeners. And so did this one, the handiwork of librettist Adamo, in efficient and astute collaboration with himself.

This novel is perfectly suited for operatic treatment, and the author-composer uses its dramatic and comedic high points with care, affection and abundant clever touches.

The two opening scenes tell the story of the four sisters compellingly and with bracing economy. From the start, each character is drawn in detail, but without overstatement. Alcott’s characteristic sanguinity is the motor that drives this plot, and it never fails; Adamo draws upon its power and intelligence throughout.

*

The musical style, both tonal and pungent and accessible without banality, buoys the text in the most felicitous way. Naturalness of word-setting is one of Adamo’s more polished gifts, and a talented cast articulates it.

The cast is a company of equals, without dominant or heavy voices, all sharing the dramatic duties without self-consciousness. Kirsten Chavez makes Jo a most sympathetic heroine; Jeffrey Lentz keeps a fine vocal-dramatic balance as the neighbor Laurie. Christina Suh and Stephanie Woodling are Amy and Meg, respectively. Natalie Taormina’s death scene as Beth is touching and beautifully understated. Two relative veterans of American opera, Gwendolyn Jones and Katherine Ciesinski, comprise the elder generation of March women. John Packard, Kelly Anderson and Andrew Fernando contribute strongly in the other male roles.

Christopher McCollum’s multilevel set--busy, detailed and not a little cluttered--is handsome and utilitarian and does not detract from the dramatic action; neither does Peter Webster’s well-spoken stage direction.

Leading an accomplished pit orchestra is conductor Christopher Larkin, who runs a smooth and apprehensible show without calling attention to himself or the instrumental details.

Opera Pacific performs Mark Adamo’s “Little Women” at Irvine Barclay Theatre, 4242 Campus Drive, Irvine, Wednesday, Friday and Saturday at 7:30 p.m. and Sunday at 2 p.m. $12-$60. (800) 34-OPERA.