Many years ago, I was a drama critic, and during 13 years of reviewing all types of productions, I seldom experienced what I call "stage magic." It's hard to describe, but I've pretty much concluded that it happens when the performers are in sync, relate well to each other, and are giving their all.
And during the June 9 matinee performance of Portland Opera's "The Barber of Seville," I experienced stage magic for the first time in years.
The magic sparked from the beginning when Figaro appeared onstage and swept me up with his highly charged movement as well as singing. The others followed with the same gusto.
In this sense, opera has changed for the better. I'm no authority, but I do know stagecraft, and I found my first operas many years ago a bit disappointing because emphasis was on singing and music with little placed on acting which often seemed stilted.
So much is required of opera singers besides voice — including a command of foreign languages and physical and vocal stamina. So I'm delighted to say that this generation of opera performers are adding so much life to all types of opera by acting their roles as well as moving from one aria or one scene to another. I do believe that opera is theater and doubt if I'll ever forget this performance. And it was a matinee!