"CARMEN," "CAVALLERIA RUSTICANA" and "I PAGLIACCI," Utah Festival Opera, Eccles Center, Logan, through Aug. 8 (801-355-2787, 888-451-2787 or www.arttix.org)
LOGAN — They are sad stories, filled with deceit, treachery, betrayal and death.
But they are sad stories, well told, with profound lessons about choice, consequence and human failings.
Add glorious music, and you have this year's offerings by Utah Festival Opera: "Carmen," probably the most popular, most-performed opera in the world; and "Cavalleria Rusticana" and "I Pagliacci," which are often paired because of length, but also fit together because of theme.
UFO's productions are stellar; not only the casts, which do justice to some of the world's most beloved music, but also the sets, costumes, orchestra and choreography.
Audrey Babcock is a superb Carmen, the passionate cigarette factory worker in love with love, who seduces the unlikely Don Jose away from his sweetheart, Micaela, and leads him into the life of an outlaw only to set up a smoldering and deadly triangle between the former corporal and a suave toreador, Escamillo.
Babcock's rich voice captures all the nuances of Bizet's memorable melodies; her style and demeanor perfectly depict the passion and seduction of the story.
Jason Baldwin also does well as Don Jose, showing believable change from reluctant suitor to deranged lover.
Sarah Hibbard's Micaela is the perfect foil for Carmen, sweet, tender and hopeful. Mark Womack's Escamillo captures the swagger and style of the toreador — not to mention the baritonal beauty of Bizet.
All the secondary characters are equally strong, as is the ensemble. As expected, a highlight is the familiar "March of the Toreadors," but as "Carmen" contains one unforgettable song after another, it is easy to get caught up in the tragic tale.
If there is one word to describe "Carmen," UFO director Michael Ballam told the audience at the pre-show Informance, "that word is 'Wow!' " UFO clearly delivers on that promise.
The same could be said for the other two offerings.
"Cavalleria Rusticana" centers around the rivalry between two woman for the affection of one man, which plays out with tragic results against the backdrop of a joyful Easter Sunday.
Babcock returns as Lola, again the seductress whose attentions to Turiddu incite the jealousy of her husband, Alfio, while Santuzza seeks to regain the affection of Turiddu, who loved and left her to her ruin. Lola is a small, but pivotal part, and Babcock does it nicely.
Bruce Reed, as Turiddu, and Michael Corvino, as Alfio, play off each other well, setting up the conflict. Brenda Frye captures the passion and despair of Santuzza with an equally strong performance; and Vanessa Schukis' Mama Lucia is also well-done.
The one-act opera by Pietro Mascagni is also filled with beautiful music, from the opening overture to the final denouement. One of the most exceptional pieces is the "Easter Chorus," beautifully sung by the large ensemble chorus.
Infidelity and despair also take center stage in Ruggero Leoncavallo's "I Pagliacci," the story with a play-within-a-play wherein a clown is driven to madness by his wife's betrayal.
Reed brings intensity, passion and believability to the role of Canio, and is particularly touching in one of the most memorable scenes in all opera, the moment when Canio realizes that he must laugh, even though his heart is broken.
Sarah Hibbard, as Canio's young wife, Nedda; Christopher Holloway, as her lover, Silvio; and Corvino, as the rejected and revenge-seeking Tonio, are equally up to the task, as the commedia dell'arte unfolds.
Corvino's prologue, where he invites the audience to witness a "slice of life" involving ordinary people is particularly effective; as is his final summation: the comedy is over.
Jordan Bluth also shows off a beautiful tenor voice as Beppe/Arlecchino, Nedda/Columbine's lover in the inset play. And once again the ensemble shines as the audience before whom the tragedy unfolds.
"Pagliacci" was particularly ground-breaking in its day, Ballam noted at the Informance, breaking the wall between the proscenium and the audience. That it still has the power to draw you in says a lot about both the message and the music. And that's true of all these productions, brought to life so very well by Utah Festival Opera.
As with many arts organizations in today's economy, Utah Festival Opera is struggling to make ends meet, noted Ballam. But to have these voices silenced would be the saddest story of all.
e-mail: carma@desnews.com