It was a night to remember — a magical night that fully brought back to me why I love this gig.
With international opera superstar Denyce Graves as headliner, the Central City Opera’s one-night- only “Opera Pops” concert Tuesday paid a festive tribute to John Moriarty, the CCO’s artistic director emeritus. Tickets for the grand affair ranged from $65 to $350, attracting a well-heeled crowd to the former mining town’s historic opera house.
The elegant ambiance and celebratory spirit that permeated the evening culminated in some exquisite music making by Graves and a clutch of other talented singers. John Baril spearheaded the Festival Orchestra in fine accompaniment to 15 operatic gems presented in three seamless program sections, sans intermission.
Introduced by Pelham Pearce, the CCO’s general and artistic director, the first section featured the cultured vibrato of baritone Joshua Hopkins in “Bella siccome un angelo” from Donizetti’s “Don Pasquale,” followed by a comical, expressive and dramatically compelling performance by soprano Emily Pulley in “Csárdás” from Strauss” “Die Fledermaus.”
A luminous, subtle prelude to Graves’ commanding “Acerba voluttu” from Francesco Cilea’s “Adriana Lecouvreur” was soprano Sarah Jane McMahon’s sweet and soaring delivery of Puccini’s poignant “O mio babbino caro” from “Gianni Schicchi.”
Subsequent selections — from Bizet to Bernstein — featured several more past CCO apprentice artists who, like soprano Graves, credit the launch of their careers to the Bonfils-Stanton Young Artists Training Program, founded by Moriarty in 1978.
Standout performances by tenor Vale Rideout, tenor Gregory Turay and baritone Grant Youngblood set the stage for Graves’ absorbing, heartfelt interpretation of the aria “Mon coeur s’ouvre a ta voix” from Saint-Saëns’ “Samson et Dalila” with Moriarity at the piano in accompaniment.
Of special note was baritone Robert Gardner’s artistically resonant and emotionally riveting portrayal of “Tanzlied” from Erich Wolfgang Korngold’s opera “Die Tote Stadt.” Gardner reappeared with tenor Brian Downen in Bizet’s lyrical duet from “The Pearl Fishers,” a personal favorite that was beautifully rendered, despite Downen’s occasional pitch problems.
Transforming herself to own the role of “Carmen” in Bizet’s opera of the same name, Graves then captured full attention again in her lusty, robust presentation of the well-loved “Habanera” aria.
The program closed with a couple of selections from Bernstein’s “West Side Story,” including “One Hand, One Heart,” sung mostly by current participants in the young artists program.
Following came a few more witty and well-paced tributes to Moriarty, concluding with an onstage champagne toast to the deserving, sprightly 77-year-old who has not only inspired and propelled the careers of hundreds of young singers, but also whose passion for teaching and coaching opera has positively influenced how budding opera stars approach their art.
The CCO’s current season continues with Bernstein’s “West Side Story,” which opens on June 28, and Carlisle Floyd’s “Susannah,” with Pulley in the title role, opening July 5 . Call 303-292-6700, or visit
