SALT LAKE CITY – As part of Utah Opera’s current season, and performing at Janet Quinney Lawson Capitol Theatre, is Zorro. Based on the 1919 novels written by John McCulley and with Music and Libretto by Héctor Armineta and Stage Direction by David Radamés Toro, Zorro tells the story of Diego de la Vega, a privileged young man of Spanish nobility who has studied in Spain to become an elite swordsman and marksman. After completing his training, Diego returns to his childhood home of Alta California, and, upon his return, learns of the hardships the townspeople have endured at the hands of the new mayor and Diego’s former friend and classmate Octavio Rivera y Moncada. Diego is also reunited with his former lover, Carlota de Obragón, and Ana Maria Soza, who grew up alongside Diego after her parents died. Performed in both English and Spanish with English and Spanish Supertitles and supported by the Utah Symphony under the direction of Alex Amsel, Armineta’s interpretation of Zorro has Diego soon understanding he can continue a life of privilege and nobility or use his power to assist the disenfranchised and fight against tyranny.
César Delgado gave a powerful performance as Diego de la Vega. Delgado’s vocals carried beautifully throughout the venue, and he expertly conveyed the inner turmoil and struggles of his character. Under Toro’s direction, Delgado and Zulimar López-Hernández as Ana Maria Soza resulted in a beautiful chemistry between the characters that showcased their love and longing for one another. While, at times, López-Hernández’s vocals were overpowered by the orchestra, overall, her performance was stunning and impactful.
Stephanie Sánchez gave an exquisite performance as Carlota de Obragón. Sánchez’s rich vocals were mesmerizing and flawless throughout. Sánchez soundly portrayed a woman not only with strong convictions, but also one experiencing the pain of unrequited love, and her presence on stage was captivating.
Octavio Moreno as Octavio Rivera y Moncada was breathtaking. Moreno’s vocals were precise and commanding, and despite the vile intentions of the character of Moncada, Moreno managed to showcase a bit of memorable humor. For example, Moreno’s interactions with Armando Contreras as Sergeant José Maria Gomez about knocking before entering a room was a delightful bit of humor in an otherwise dramatic performance.
Scenic design by Liliana Duque Piñeiro was simple yet effective with walls depicting traditional Spanish style architecture and a tiered, terracotta foundation divided into sections that allowed for smooth scene transitions. Lighting Design by Tiáloc López-Watermann was equally appreciated, the highlight being the use of light to create Zorro’s signature “Z” and projecting it on the set as well as on the stage curtain during intermission. Particularly enjoyable was López-Watermann’s design to reveal the “Z” line by line. For example, in the opening scene a “Z” is being carved into Diego’s arm with a sword. With each swipe of the sword, a line would appear on the set, slowly revealing the full letter rather than all at once.
Also noteworthy was the work of Costume Designer Ulises Alcala. I particularly enjoyed the attention and detail given to the use of color. For example, the townspeople wore mostly muted colors like white and beige whereas those more fortunate were dressed in brighter colors. Perhaps Alcala’s design shined brightest during the masquerade ball with a variety of bold designs and color glittering the stage, the highlight being the beautiful black, yellow and red Flamenco dress worn by Flamenco Dancer and Choreographer Katie Sheen-Abbott.
Under Amsel’s direction, the Utah Symphony carried the production exquisitely from beginning to end. While there were so many beautiful moments performed by the musicians, a highlight was the Spanish guitar during the Flamenco dance. The symphony’s talent exceeded all my expectations, and their performance was another reminder of how fortunate Utah is to have such a talented group of musicians in our midst.
Utah Opera’s production of Héctor Armineta’s Zorro is a beautiful production that provides drama, humor and romance. With stunning performances both vocally and instrumentally along with expertly crafted technical designs, this interpretation of Zorro is not only a feast musically but also an important reminder of an all-too forgotten fact of American history: “Latino culture is an American culture…we have always been here and…we belong” (from Toro’s Director Note). To anyone who may feel dismayed by the rising tension and division around the world and in the United States, Zorro may be the performance that gives you the strength to persevere, the hope of brighter days ahead and a renewed conviction that liberty and justice is, indeed, for all.
MORE INFO: Utah Opera’s production of Héctor Armineta’s Zorro performs on October 12th and 14th at 7:00 PM, October 16th at 7:30 PM and October 18th at 2:00 PM at Janet Quinney Lawson Capitol Theatre 50 West 200 South Salt Lake City, Utah 84101. Tickets range from $14.50 – $117.00. For more information, please visit https://utahopera.org/.
FOLLOW US ON FACEBOOK, INSTAGRAM, and TIKTOK!
If you’re a director, producer or marketing contact who would like to have us review your show, please fill out this form.
If you have comments about this article, please fill out this form.