‘Albert Herring’ Finds a Youthful Voice

SANTA BARBARA--The world of East Suffolk as captured by Benjamin Britten lives, breathes and sings in the delightful production of Britten’s “Albert Herring” put on by Music Academy of the West in the historic Lobero Theatre here, over the weekend.

Successfully staging “Herring,” a chamber opera for an ensemble of 13 accomplished singers and an equal number of instrumentalists, is no easy feat, for there are pitfalls in its casting, execution and demands on enunciation and vocalism.

But once again, the Music Academy’s operatic management--vocal programs director Marilyn Horne, conductor Randall Behr and guest stage director Lotfi Mansouri--have put together a show that is a joy to watch and hear.

Seen Friday night--it was repeated at a Sunday matinee--this handsome production is funny, credible and sung by young voices mostly at their peak of promise.

Behr’s leadership keeps the music in motion and the singing operating at a conversational level. Mansouri’s fluent staging allows the singers to use their acting muscles without overstating, an easy, potential error in this opera. Every member of the cast inhabits his or her character fully but without caricature. Daily life in 1900 Loxford, East Suffolk, is enacted believably.

William Ferguson makes a true-to-life Albert, who comes into focus only as the action accelerates and earns the audience’s affection gradually, as the character proves himself. Ferguson’s utter lack of self-consciousness also adds dimension to the singing and the acting.

In the person of Erin Wood, Lady Billows dominates the scenario appropriately; Wood’s acting is on target and unflagging, despite occasional vocal stridency and a sound that can be monochromatic.

The difficult role demands a combination of Aida, Princess Ida and Turandot; Wood may be on the path that leads to those plateaus.

On this stage, she is handsomely seconded by the Florence Pike of Megan Lathan, who may be no contralto but knows her way around this difficult role.

The richest, most promising voices in the cast belong to Holli Harrison (Mum), Deborah Domanski (Nancy) and Alan Corbishley (Sid), all of whom deliver their words with admirable clarity and sing with ardor.

Lady Billows’ worthies are Maija Lisa Currie (Miss Wordworth), Justin Plank (Vicar), Jeffrey Behrens (Mayor) and Alvin Crawford (Superintendent).

The children are sung by Faith Sherman, Wendy Bryn Harmer and Alex Rosen.

The production staff includes scenic designer John Coyne, costume designer Walter Mahoney and lighting designer Connie Yun.