![]() “Two years ago, we had barricades at the front entrance, limited access point to the hospital, care being delivered in expeditionary tents in the parking lots,” he said. He went on to talk about the challenges and successes achieved during his time in command. “I need to thank so many people for what has been accomplished here at Naval Hospital Camp Pendleton over the past two years,” Roberts said. Roberts then gave his detaching remarks where he thanked his family, mentors, and hospital staff. She is well-prepared to meet the challenges that lay ahead and to continue the legacy of excellence at NMRTC Camp Pendleton.” Valdes then welcomed the new commander, “Captain Burkett brings a wealth of experience, energetic drive, and a passion for providing exceptional care. ![]() Speaking of Roberts’ time in command, Valdes added, “The combined execution of patient care, training, research, and operational readiness requires great skill and expertise, and Captain Roberts has performed exceptionally with grace and poise.” “A commanding officer’s decisions and actions directly impact the readiness and well-being of those who defend our Nation. “Perhaps the most rewarding milestones and positions to have in the Navy is that of holding command,” Valdes said. Valdes, commander, Naval Medical Forces Pacific, and Director of the San Diego Market. ![]() The guest speaker for the event was Rear Adm. The ceremony was held outdoors in the hospital’s Medal of Honor Mall with the Pacific Ocean as a backdrop. Burkett as Commander of Navy Medicine Readiness and Training Command and as Director of Naval Hospital Camp Pendleton during a Change of Command Ceremony August 4, 2023. Perhaps it will also get even more real.CAMP PENDLETON, Calif. Perhaps given the occasion, as this is the first opera since the company nearly closed, it’s understandable everyone, whether in the pit, onstage, or in the audience, was excited.Īs everyone relaxes as the run continues, this already affecting production is only going to get better. There were balance issues between the strings and the winds, ensemble issues in the winds, and at times the playing had a frantic quality to it. There’s never a moment where big groups of people (or little groups) are just standing around.Ĭonductor Karen Keltner aspired to match Bywater’s life-force, but under her baton the San Diego Symphony sounded erratic. The ensemble scenes were among the best elements in the production, as Bywater has a gift for keeping the stage, and whoever happens to be on it, whether the chorus, a children’s choir, or the principals, energized. And he was able to fully embrace Bywater’s approach to the work, as did Christian Van Horn as Colline and Malcolm MacKenzie as Schaunard. He’s also a superb actor and his voice was always in service to his character. ![]() The most impressive voice on stage belonged to Smith. She has a more ample sound than Meers, but it wasn’t her best moment. In her aria, Cambridge also seemed to abandon her character as she turned and faced the audience. He has a warm, appealing sound it’s just not a big one. When he stayed within himself and kept his focus on his character and the rest of the cast, as in the third and fourth acts, he was fine. Meers seemed to drop the role Rodolfo and take on the role of a tenor, and especially considering his was the smallest voice on stage, that wasn’t a good idea. The San Diego Opera opens its 50th anniversary season, but what is its next act? An analysis by James Chute.īut what about the critical first act, the scene where Rodolfo and Mimi first meet? This contains a succession of famous arias, first the tenor’s “Che gelida manina” ("What a cold little hand"), then the soprano’s “Sì, mi chiamano Mimì" ("Yes, they call me Mimì"), and finally the consummating duet, “O soave fanciulla" ("Oh lovely girl"). There was only the drama, and for a moment, in fact for the entire act, you were completely absorbed in their story. Without going into a detailed explanation of the plot (in a nutshell: they can’t live with each other the can’t live without each other), suffice it to say that you forgot about the singing, such was the ease and naturalness in which Alyson Cambridge’s Mimi, Morgan Smith’s Marcello, Harold Meers’ Rodolfo and Sara Gartland’s Musetta interacted with each other. And the production was successful to the degree the cast was able to carry out that vision.Ĭonsider the third act, where "La Boheme" sometimes bogs down. Where: San Diego Opera at the Civic Theatre, downtownīut the most telling aspect of this appealing production, which opened Saturday in a sold out Civic Theatre and continues for three more performances, was her emphasis on making “La Boheme” a work of musical theater as much as an opera.
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