Björn Bürger’s gale-force Figaro and Taylor Stayton’s mischievous Almaviva are musically and dramatically beyond compare, Bürger’s commanding baritone offset by Stayton’s extraordinarily pure and mellifluous bel canto tenor.
Stayton’s coloratura is effortlessly beguiling.
A highlight was Taylor Stayton, whose bright, firm tenor rang out in the one big aria of Idreno.
The astonishing young tenor Taylor Stayton anchored the overall vocal excellence with an effortless traversal of the title role. Time was when the vocal demands of this opus limited any production attempts to the occasional appearance of someone like Rockwell Blake who could make at least a decent stab at the Count. These days, high-flying tenors seem to be turning up with happy regularity, and with his performance here, Mr. Stayton has announced that he is deserving to be numbered on the short list of Rossini all-stars.
Rossini’s Le Comte Ory sparkled. Taylor Stayton’s sunny, stratospheric tenor is ideally suited to Rossini, and he made a pyrotechnical feast of the title role. He also proved himself a superlative comedian, and the fact that he’s handsome doesn’t hurt.
The very gifted Taylor Stayton’s laser-bright timbre boasts an exceptional fluidity above the staff and is probably ideally displayed in Rossini, but his Ernesto was no slouch.
Taylor Stayton boasted a fluidly responsive lyric tenor with a vibrant ping above the staff as the rebellious Egyptian prince Osiride.
The most compelling human element in the opera is the forbidden love of Pharoah’s son Osiride for the Israeli girl Elcia, and in a magnificent breakout performance as the conflicted Osiride, Taylor Stayton dominated the production.
Stayton rose to the heroic demands of this taxing tenor role, his phrasing expressive and nimble, his sound bright and open, with a nice ping on top. He is a talent to keep track of.