the stylistic comfort that they would most likely be at. When Owdom’s character performed a great musical piece, and great example of how a soprano should sound, she turned the opera into a strip tease for the 15 minutes she was singing her solo. There were comments in the crowd from Grandmothers to Grandson’s to close their eyes. Even though I felt this to be appropriate for an audience of her age, the elderly people and young folks in the crowd didn’t appreciate this as much as they would of liked to. The turning point that actually swayed my decision to stay and finish this opera about nothing, was the simple line “is that your hat boy” sung in harmony by all three females. Along with Owdom, Coker, a former standout in Hansel of Hansel and Gretel performed in North Carolina theatre last year and Gunlogson a performer with a B.A. in music from Indiana university of Pennsylvania, stole the show. The sweet sounds of harmony, polyphony and wide ranges of musical intervals really displayed un-humanlike qualities from all three females. The use of imitation was well practiced and the constant relief of strings from the composer was smooth yet powerful. I was impressed by the way these females could take the crowd over by this 1 line.The opera was definitely a well thought out performance, but could use more attention to detail and practice. I think some actions should be re-thought that occur during the play. At the climax of the opera when the painter played by Nathan Granner was overwhelmed with fog from the fog machine, the seats needed to be equipped with oxygen masks for the audience to just catch there breath. Nathan Granner dealt with the fog beautifully; while I was coughing he was putting out notes that were well inspired by his dream depicted in the storyline. I think this opera is an awkward yet intriguing story with great uses of vocal and musical response. The musical climax is displa...
