This weekend, Oberlin Opera Theater presents its spring 2025 production of Mozart’s La finta giardiniera, or The Secret Garden Girl. The story is a classic case of confused identities and love triangles — as one character notes, it’s “a complex matter.” Written when he was only 18 years old, the opera is described as a dramma giocoso, or “playful drama,” similarly to Mozart’s later masterpiece Don Giovanni. While this piece is far from the musical and dramatic richness of Giovanni, it is a delight to see the seeds of Mozart’s later work. Oberlin’s production works to capture the youthful spirit of the composer through commitment to comedy even in the seemingly-serious moments.
A highlight is the set and costume design, which we’ve come to expect from Oberlin Opera Theater. The show centers the idea of “the game of love,” featuring playground accoutrements throughout. For the most part, this adds a charming quality that highlights the playful nature of the comedy. Occasionally, however, these set pieces feel superfluous and distracting. One such instance involves a seesaw that two characters sing from as they bounce up and down. While interesting visually, it is hardly used again. That said, other additions, such as characters singing on large bouncy balls or rolling die that double as set dressing, are delightful. The costumes are also a major success, with a mix of period-appropriate attire and modern twists. A personal favorite is for the character Arminda, who quite literally wears the pants — complete with a corset and bustle — in her engagement to Count Belfiore. The Countess Violante’s costume is another visually exciting combination, pairing a tall, intricate white wig with a pair of tailored overalls. Aesthetically, this show is an absolute blast, and the performances definitely add to the charm.
The Countess Violante, disguised as the gardener Sandrina, is sung by double-degree fourth-year Delaney Fox, who brought a tactical approach to Mozart’s score. Her clean technique shines throughout the performance, and her arias particularly are some of the most beautiful moments in the opera. She is countered by Conservatory fourth-years Rowan Taymuree and Bradley Boatright as Count Belfiore. Taymuree brings an advanced approach to the score, and his voice easily fills Hall Auditorium. Boatright, the Oberlin Opera Theater veteran in his final show, displays an elegance integral to the character, both in his vocalism and acting.
The Podestà, essentially the town mayor, is sung by Conservatory first-year Isaiah Gallegos and Conservatory fourth-year Travis Guillory, and both bring very contrasting interpretations to the role. Gallegos, a first-year making an exquisite Oberlin Opera debut, showcased his vastly impressive instrument, while Guillory stands out with his perfect comedic timing and vocal stylings. Another interesting contrast is the role of Arminda, Podestà’s niece and the to-be-fiance of Count Belfiore, played by Conservatory fourth-years Sabrina Schubert and Skylar Lehr-Bryant. The two singers have entirely different voices, yet both portray the character with plenty of comedic flair. Both singers incorporate stylistic ornamentations that show off their stunning coloratura capabilities in a unique way.
Ramiro, a heartbroken suitor sung by double-degree second-year Samantha Lewis and Conservatory third-year Kailey Pritchard, is well-sung despite their unfortunate lack of interesting musical material to work with. Pritchard shows off her well-trained instrument in her arias, reminiscent of her performance as the evil stepmother in last semester’s Cendrillon. Lewis provides a natural sensitivity to the character that feels absolutely genuine within the tapestry of the plot.
Last but not least are the fantastic servant duo of the brazen Serpetta, sung by Conservatory third-year Molly Chun and double-degree fourth-year Ava Paul, and the ever-charming Nardo, sung by Conservatory second-year Maverick Williams and double-degree second-year Will Sulkow. The roles are well-sung by both pairs, certainly, but the highlight is the comedic chemistry — their beats are clear and polished, and keep the story rolling with both comedy and heart.
If there is one criticism, it is that there are some moments in the show where the comedy is not as polished. It’s certainly a tall task for a nearly two-and-a-half-hour opera to have every moment as tight as it can be. This is always the challenge of opera, when a difficult score and difficult stagecraft must come together for a live audience.
The music was expertly conducted by Maestro Christian Capocaccia, who is no stranger to interpreting Mozart. He led the ensemble masterfully, and the lush score enhanced every aspect of the show. The recitative was accompanied with precision and care by Associate Professor of Opera Coaching Dr. Kyung-Eun Na on harpsichord and Conservatory second-year Zack Price on cello, who both deserve raucous applause for the work put into their respective performances.
La finta giardiniera continues Associate Professor of Opera Theater and Director of Opera Theater Stephanie Havey’ string of winning productions. You can catch remaining performances in Hall Auditorium tonight and tomorrow at 8 p.m., with a matinee Sunday at 2 p.m.
