'Regina' begins impressive season for Long Leaf Opera

CHAPEL HILL -- Long Leaf Opera's commitment to staging hidden gems and cutting-edge works written in English has been admirable, despite a vision often greater than its resources. But its revamp into a summer festival last year has brought it to a new level.

Marc Blitzstein's "Regina" began its impressive tenth season lineup Friday. This 1949 work, based on Lillian Hellman's popular play and film, "The Little Foxes," flummoxed critics and audiences in its initial run with its attempt to combine opera, Broadway, jazz, gospel and popular music.

Blitzstein's vision also reached beyond his resources, creating a dozen riveting solos and ensembles intermixed with awkward narrative and tension-depleting shifts between spoken and sung dialog.

Familiarity with this Southern gothic tale of greed and power is needed to fill in the blanks.

Productions of "Regina" are rare, defeating even the most established companies. Undaunted, Long Leaf Opera has lavished its version with top-notch performers and some of its best production values, presenting the work to good advantage. Some minor glitches in timing, physical staging and technical matters are outweighed by the rare opportunity to experience this flawed but fascinating experiment.

Christine Weidinger has all the vocal power needed for the scheming Regina, her confident musicality and fearless high notes thrilling. She projects Regina's many spoken outbursts in dramatically chesty tones. Her tentative characterization and uncertain posturing would likely have been overcome with more rehearsal, for there appears to be a great Regina just below the surface.

Barbara Ann Peters brings an affecting vulnerability to alcohol-addled Birdie, her warm soprano making the most of several big moments, especially the reverie about her lost plantation home. Denise Payton gives a wonderfully sympathetic portrayal of maid Addie, her quiet blues and raise-the-roof gospel numbers memorably vivid.

Highest accolades go to newcomer Danielle Talamantes as Regina's rebellious daughter Alexandra. Her pure, finely focused soprano soars with exciting emotion, her characterization richly nuanced.

The male contingent is no less impressive. Veteran Malcolm Smith pours out his velvety bass unstintingly as Horace, Regina's ailing but cagey husband. As Regina's conniving brothers Oscar and Ben, Stephen Jepson and Rick Piersall prove adept actor-singers, providing welcome humor and energy. And Kerry Jennings finds the right cluelessness as the ne'er-do-well Leo. Smaller male roles are all in good hands.

Director Randolph Umberger balances the stage well and keeps things moving. His richly detailed set of columned doorways and sweeping staircase is Long Leaf's best to date. Benjamin Keaton leads the Carolina Chamber Symphony through the tricky score with understanding, maintaining appropriate tension with only minor lapses.

Anyone interested in American music should see Sunday's repeat performance. The melting lyricism of Alexandra's "What will it be," the vibrant pizzazz of Regina's "The best thing of all," and the haunting beauty of the "Rain Quartet" alone sweep any quibbles.