Las Vegas Sun

March 28, 2024

Review: ‘The Pav’ well received at its Henderson opening

Klieg lights pierced the sky on opening night at Henderson Pavilion at Liberty Pointe, an appropriate launch for this impressive, pace-setting outdoor entertainment venue.

Its huge white canopy glows against the sky. Illuminated palm trees welcome visitors at the entrance. Well-lit grounds are beautifully landscaped.

"Well, what do you think?" Henderson Mayor Jim Gibson asked the opening-night audience. The crowd answered with loud cheers and applause. It later gave performers standing ovations.

The premiere at "The Pav," as they're calling the amphitheater, featured the Las Vegas Philharmonic, Opera Las Vegas and Nevada Ballet Theater. The ballet was well-covered in the formal program; it would have been interesting to have more information about the philharmonic and the six soloist singers.

The philharmonic performed three works independently and also played throughout the pre-intermission program, accompanying the vocalists and one selection by the ballet. The diverse music showcased the orchestra's versatility, from Aaron Copland's "Fanfare for the Common Man," a brilliant display of the talent of the philharmonic's brass and percussion sections, to arias from well-known operas and operettas.

The acoustics of the pavilion are outstanding; the microphones, well-balanced. The brass section sounded crisp and bright, the strings, warm and mellow. Woodwinds carried over the rest of the orchestra. Every note played, every word sung, was clearly articulated, resonant and (in the case of lyrics) understandable.

The sound system was also a star of the show, enhancing, rather than obliterating, the performers. An acoustic shell behind the musicians would make the very good sound, excellent.

Opera Las Vegas had both local and "imported" singers.

Baritone Paul Krieder has a robust, pleasing voice. Tenor Alfonse Anderson was technically precise, but emotionally bland.

The four women singers brought down the house. Coloratura soprano Erie Mills launched vocal fireworks as a courtesan in the "Glitter and Be Gay" aria from Leonard Bernstein's "Candide." She was followed by lyric soprano Patricia Welch, who sang a torrid rendition of "Summertime" from George Gershwin's "Porgy and Bess."

Rachel Mondanaro, a dramatic soprano, was magnificent in the "Czardas" aria from Johann Strauss' "Die Fledermaus." Her rich, flexible voice was fluid throughout her extensive range. She handled her voice like a versatile instrument, with amazing changes in volume and dynamics. Her low notes were warm and full; her high notes and trills produced sparkling excitement.

Mills, Mondanaro and mezzosoprano Juline Gilmore joined for "Three Little Girls from School" from "The Mikado" by Gilbert and Sullivan. A delightful performance. Then Gilmore, backed by Mills and Mondanaro, was featured in a provocative version of Bizet's tantalizing "Gypsy Song" from "Carmen."

Opera Las Vegas' "ensemble" of singers assembled on stage for a finale of "Make Our Garden Grow" from "Candide." It was an anticlimax.

Following the vocalists, Natalia Chapourskaya and Kyu Dong Kwak, stars of Nevada Ballet Theatre, were superb in the "Pas de Deux" by Leon Minkus. Chapourskaya's elegant grace and en pointe work and Kwak's airborne leaps and warp-speed revolutions were stunning.

After intermission, the full ballet ensemble performed "Inner Moves," by Korean choreographer Moon Seok Chang. Its modern moves and angular, innovative body postures were fascinating; the lack of precision by the corps de ballet, distracting.

Opening night was an auspicious beginning for The Pav. It will be an exceptional venue for performances in which sound is most important.

However, in some sections, seeing performers on the stage, and following their movements, can be difficult. This is because the stage is low, the pitch of the lower fixed seating area is shallow, and seats are not staggered.

Also, as seats approach the walls, part of the stage becomes obscured. Sitting high enough on the lawn's center section provides a good view of the stage, but performers look like Lilliputians. Side lawn areas have little, if any, view of the stage.

Though officials dubbed Friday night a "soft" opening, the gala progressed smoothly. Shuttle buses transported people to and from off-site parking lots. A variety of food carts and permanent food concession windows were operating. Railings in the center of the long aisles and lights set into the step risers were helpful. Lawn chairs could be rented for $1.

Other elements will certainly fall into place. Hopefully large signs will be installed identifying restrooms, concession areas and the location of the elevator (in an alcove to the right of the food concession windows on the plaza, to the right of the stage behind lower-level blue doors).

A site map near the entrance would also be useful. It's hard to hear ticket booth workers and food servers behind their windows, so a microphone system would enable them to communicate better with patrons. But these are minor details.

It was a memorable night, and The Pav debut deserves its own standing ovation.

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