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York’s warm, full baritone conveyed the character’s realization of his destiny. Grose, the two soaring in duet.Īndrew York was deeply moving in Billy Budd’s final monologue as he accepts his fate before execution. In the piano scene from the same opera, Jennifer Voigt was a lighter, more vulnerable Governess with Mary Claire Curran a resilient housekeeper Mrs. The high vocal line held no terrors for the soprano. Hillary Trumpler, a brilliant Queen of the Night in Frost’s fine production of The Magic Flute last season, vividly conveyed the anxiety of the young Governess as she arrives at a remote estate in The Turn of the Screw. Townsend’s virile declamation was nicely matched by Laura Jarasek’s lyrical Hermia and Mia Rojas’ saucy and volatile Helena. Ryan Townsend’s strong lyric tenor and theatricality dominated the Act 1 scene from Midsummer Night’s Dream in which Lysander turns from loving Hermia to Helena after being put under a magic spell. Throughout the fast-paced evening, the singing was consistently strong, obviously the work of excellent coaching and rehearsal.

The Frost vocal program continues to produce some gifted young singing actors. The continuous series of excerpts and scenes traced Britten’s operatic journey from the 1941 American curio Paul Bunyan to the 1960 adaptation of Shakespeare’s A Midsummer Night’s Dream. While the harmonic complexities of Britten’s orchestral writing cannot be totally recreated in two-piano reductions, the spare instrumentation enhanced the intimacy of the presentation Thursday night at Clarke Recital Hall. The University of Miami’s Frost Opera Theater celebrated the hundredth anniversary of the birth of Benjamin Britten with “Britten and Beyond in Great Britain,” a generous sampler of the British master’s opera scores. Alan Johnson conducted an evening of Britten’s opera music Thursday night at UM’s Frost Opera Theater.

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