Anchorage Opera continued its 2025–26 season in high style with Giacomo Puccini’s Gianni Schicchi, presented November 7, 9, and 10 at the Discovery Theatre inside the Alaska Center for the Performing Arts. Following the haunting psychological intensity of The Medium, this production offered a welcome counterbalance: an hour of vibrant comedy, rich ensemble energy, and musical brilliance. Under the inventive creative direction of Anchorage Opera General Director Ben Robinson, the company brought Puccini’s one-act masterpiece to life with infectious humor, emotional sincerity, and dazzling precision.
The third and final installment of Puccini’s Il Trittico, Gianni Schicchi (premiered in 1918) is one of the great comic operas of the 20th century. Its story, inspired by a single passage in Dante’s Inferno, revolves around the death of the wealthy Florentine Buoso Donati. When his greedy relatives discover that Buoso has left his entire fortune to a monastery, they panic and hatch a desperate plan. They summon the cunning commoner Gianni Schicchi to help them forge a new will by impersonating the dead man in front of a notary. What follows is a delightful whirlwind of deception and poetic justice, as Schicchi outsmarts the Donati family at their own game and turns their avarice against them.
Dennis Jesse, in the title role, was nothing short of wonderful. His Gianni Schicchi was charismatic, commanding, and irresistibly funny. Jesse’s rich baritone and impeccable comic timing made him the perfect embodiment of Puccini’s clever antihero, a man both trickster and moral avenger, whose brilliance exposes the hypocrisy of those around him. His performance of “Addio Firenze,” delivered with unexpected tenderness, revealed the humanity beneath Schicchi’s scheming exterior, transforming the character into something far more complex than mere satire.
Opposite him, Ashley Emerson as Lauretta charmed the audience with crystalline grace. Her rendition of “O mio babbino caro” was exquisite in its simplicity and emotional truth. Emerson’s soaring soprano brought a moment of stillness and sincerity amid the opera’s swirling chaos. Her portrayal of Lauretta, poised between innocence and determination, provided the beating heart of the production and made her plea to her father profoundly moving.
The production’s comedic energy thrived thanks to a richly talented ensemble. Alissa Anderson was captivating and hilarious as Zita, the domineering matriarch trying to keep her scheming relatives in line. Kyle Gantz and Meghann Welsh shone as Marco and La Ciesca, balancing sharp wit with infectious physical humor. Brad Bickhardt’s Rinuccio was vibrant and romantic, his lyrical tenor beautifully blending youthful ardor with comic exasperation. Maura Wharton as Nella and Matthew Flavo as Gherardo brought delightful flair to their roles as the bickering couple, while Sonnet Bolen’s Gherardino added an extra touch of charm to the family chaos.
Brewster Jamieson gave a strong and grounded performance as Simone, the family’s self-proclaimed patriarch, whose supposed wisdom only adds to the confusion. Justin Birchell’s Betto di Signa was slyly observant, always scheming on the sidelines, while Ben Robinson, doubling as the late Buoso Donati, set the opera’s darkly comic tone from the opening scene. John Fraser as Maestro Spinelloccio, Nancy Caudill as Amantio di Nicolao, Alison Pogue as Pinellino, and Griffin Lindsay as Guccio each contributed vividly to the ensemble’s rich comic tapestry. Together, the cast created a tightly woven, fast-paced farce that never missed a beat.
Musically, the performance sparkled under the direction of Maestro Christopher Zemliauskas, whose conducting was both precise and buoyant. Puccini’s intricate score, full of rhythmic drive, sly humor, and heartfelt melody, was handled with skill and sensitivity. Zemliauskas maintained perfect balance between stage and pit, allowing Puccini’s musical wit to shine while supporting the singers’ every nuance. The orchestra’s light, agile sound captured the quicksilver energy of the comedy, and its lush phrasing lent warmth to the opera’s moments of genuine emotion.
Visually, the production was a feast of color and character. Scenic Designer Lauren MacKenzie Miller’s set evoked the cluttered luxury of a Florentine parlor in decline, a perfect backdrop for the Donati family’s moral decay. Every corner seemed to hold a secret or a scheme. Lighting Designer Cedar Cussins used shadow and glow to enhance the timing of the humor and the mood of deception, ensuring that the audience’s focus shifted as nimbly as the plot itself. Costume Coordinator Kathryn Braden dressed the cast in richly detailed, period-appropriate attire that emphasized the individuality and vanity of each character. Hair and Makeup Designer Elle Janecek completed the transformation, accentuating the opera’s blend of realism and caricature with elegant comic flair.
Behind the scenes, Production Stage Manager Helen Irene Pospisil and Assistant Stage Manager Andrea Anderson kept the rapid-fire pace running with flawless coordination. Timing is everything in Gianni Schicchi, and their precision ensured that each gag landed perfectly and each transition flowed seamlessly. Their expertise allowed the production’s chaos to feel spontaneous while remaining under tight control.
Director Ben Robinson’s vision unified all these elements into a production that balanced broad comedy with emotional insight. His approach celebrated Gianni Schicchi’s timeless humor while revealing the opera’s sharper edge: its commentary on greed, class, and morality. Robinson’s attention to character detail ensured that even the most absurd figures remained recognizably human. The final moment, when Schicchi turns to the audience and asks, “Tell me, ladies and gentlemen, wasn’t that a fine idea?” landed with perfect irony, encapsulating the opera’s blend of laughter and reflection.
A special shoutout goes to Anchorage Opera Intern Iris Montesano, whose behind-the-scenes dedication and organizational skill helped make this intricate production a resounding success. Her efforts exemplify the collaborative spirit that defined the entire evening.
Anchorage Opera’s Gianni Schicchi was a triumph. It was a joyful, razor-sharp, and musically vibrant celebration of human folly and resilience. Beneath the laughter, the company uncovered the opera’s moral heart, reminding us that even in deception there can be justice, and even in satire, there is humanity. With its brilliant ensemble, stunning design, and Puccini’s glorious score brought vividly to life, this production was a testament to Anchorage Opera’s artistry and imagination.
As the audience roared its approval at the final bow, it was clear that Gianni Schicchi’s final question needed no answer — yes, it was indeed a fine idea.
Don’t miss the opportunity to experience the magic of live opera in the heart of Alaska! Information about future shows and performances can be found on the Alaska Center for the Performing Arts website: AlaskaPAC.org. Tickets are on sale now and can be obtained through CenterTix.com or by calling 907-263-ARTS (907-263-2787).
Ahsan Awan has been covering opera, performing arts and live events for two decades, and has been covering Anchorage Opera, since the 2022-2023 season. Images taken by Ahsan Awan for Anchorage Opera and ©2025 American Presswire. Editorial use by Anchorage Opera with permission and subject to unrestricted use under license unless otherwise noted. Ahsan Awan can be found on X as @quackarazzi and on Instagram as @quackarazzi. American Presswire can be found on X as @ampresswire and on Instagram as @ampresswire.