In producing Mark Adamoās acclaimed version of āLittle Womenā last weekend, Annapolis Opera took on the mission set out by artistic director and conductor Ronald J. Gretz to bring accessible, contemporary opera to Maryland Hall audiences.
The result was a bold and fulfilling production, and one that launched the troupeās season on a high note.
Those attending āLittle Womenā last weekend are likely to be anxious for more ā and wonāt have to wait long.
Next up for Annapolis Opera is āArias & Encores,ā a concert showcasing arias and duets from opera and musical theater. The concert will be held 3 p.m. Sunday, Dec. 3, at Calvary United Methodist Church, 301 Rowe Blvd., Annapolis.

Yet before hearing those āArias & Encores,ā the production of āLittle Womenā warrants note for its innovation and excellence.
Beginning with an āOvertureā led by Gretzās insightful conducting of the Annapolis Symphony Orchestra and offstage chorus, the show offered a richly rewarding musical experience. Adamoās retelling of Louisa May Alcottās 1868 classic tale of the March sisters ā Meg, Jo, Amy and Beth ā captured their growth through a contemporary libretto and blended tonal and non-tonal score.
All elements of the troupeās 45th season opener worked beautifully, from the enchanting set by April Joy Vester to costume design by Lorraine vom Saal.
As Jo, Metropolitan Opera mezzo-soprano Sarah Mesko was compelling vocally and dramatically, engaging audiences in her energetic portrayal of the strong-willed, passionately devoted big sister. Supremely versatile vocally, Mesko displayed bright mezzo, most notably in her duet with baritone Ethan Greene, portraying Friedrich Bhaer.
The operaās theme of change is first illustrated in Joās difficulty accepting younger sister Megās loving relationship with family tutor John Brooke, fully realized vocally and dramatically by baritone Alexander Elliott. Their growing love results in marriage, causing the first serious family crisis and providing a major musical highlight with mezzo soprano Rachel Arky, as Meg, delivering a magnificent āThings Change, Jo.ā
As another suitor, Laurie, tenor Jonas Hacker excelled in his passionate arias to Jo and Amy, the latter beautifully portrayed by soprano Ariana Wehr.
Another profound change occurs in the tragic death of youngest sister Beth from scarlet fever. As Beth, soprano Claudia Rosenthal delivers a reflective, compassionate duet with Meskoās Jo.
A final profound ā and welcome ā change is reflected in Joās exploration of new vistas in her life, introduced by Bhaer, the German teacher ā fully captured by baritone Ethan Green in a gorgeous aria reciting Goetheās āKnowest the land where lemon trees bloom,ā first in German and then in English.
Completing the excellent cast were Madeleine Gray as Aunt Cecilia, Kyle Engler as mother Alma March and the March sistersā father, Gideon, well portrayed by baritone Daniel Scofield. Large bravos are due to Gretz, as well as to stage director Braxton Peters, who in his 27 years with Annapolis Opera has hardly surpassed greater challenges than those presented in this complex masterwork.
As noted, āLittle Womenā is just the start of Annapolis Operaās ambitious season. In addition to āArias & Encoresā next month, the company will offer āTake a Chance on Love,ā a Valentineās concert, Sunday, Feb. 11 at Rams Head Center Stage in Live Casino and Hotel.
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Then, Annapolis Opera will offer another fully staged production in March when Giuseppe Verdiās āLa Traviataā takes the Maryland Hall stage for two performances, 8 p.m. Friday, March 16 and and 3 p.m. Sunday, March 18.