Swanson was perfectly ardent, and he started hitting some authentically dramatic and vocally resplendent high notes himself as he warmed up. Morley spun “Glitter and Be Gay” with almost superhuman insouciance – not to mention nailing all the high notes – although she could have flirted more with her “Aha!” exclamations. Jack Swanson’s Candide, Erin Morley’s Cunégonde, and Peabody Southwell’s Paquette stood out vocally in a cast that was impressively strong from top to bottom. The company has already added a matinee and could probably sell out an extended run.Ĭandide is not flawless: after a first act of indescribable brilliance, a second act of indescribable length suggests that Bernstein still had something to learn from his Mozart in getting his writers to give him great closing material. Before the intermission it was like one of those MGM musicals when Judy Garland and Mickey Rooney put on their own shows. James Conlon in the pit had total control of the motion and flow, and the LA Opera Orchestra soared.

There was no costume that wasn’t addictive to look at, not one moment when the backstage conceit didn’t work to the extent that an extravagant El Dorado sequence with Las Vegas showgirls strutting about would have put a smile on Busby Berkeley’s face. After watching LA Opera’s new Candide I'm still not sure whether it’s half an opera, three quarters an operetta, or a musical and a half, but who cares when director Francesca Zambello’s team put together a production that was so swell to look at and so easy to fall in love with.

Candide la opera