The New York stage premiere production of Franz Joseph Haydn's "L'Isola Disabitata" opened on February 18 at the beautiful Gerald W. Lynch Theatre of the John Jay College, under the auspices of Gotham Chamber Opera. Haydn's tenth opera written for the Esterhazy court, and his personal favorite of the operas he penned, it is not only fresh in this approach and staging, but also provides a revealing glimpse of early opera.

This opera is written in the Baroque style, but having made its debut in 1779, it is technically beyond Baroque and on tiptoe into the Classical period. Elements of stylistic change are audible, as style change harbingers manifest the way a key change does. There are some performance style changes here as well, with an opening aria from a different Haydn opera, with virtually the same text, swapped in by artistic director of Gotham Chamber Opera and conductor Neal Goren. Mark Morris' vision for the piece is spare-it is a desert island after all-but textured and evocative.

This production features sopranos Takesha Meshé Kizart and Valerie Ogbonnaya as Costanza and Silvia respectively, tenor Vale Rideout as Gernando, and bass-baritone Tom Corbeil as the faithful Enrico. With the entire cast thus represented, this makes for a perfect piece to properly feature each of these singers.

The opening overture/sinfonia is extremely dramatic and the extremely basic set, consisting of a large carved stone with a cave opening, is very, very dimly lit. During the opening Sturm und Drang, the lights slowly come up on a figure slumped near a corner of the rock. Costanza gradually awakens and we see she is wearied by the labor she has nearly completed-whether by saying what she must say, or by running out of space-is difficult to say. Set design is by Allen Moyer, and the cave opening seems almost womb-like where, as Silvia sings, the plants protect them above on this paradise and the caves protect them below. Silvia emerges from this earthen womb to attempt yet again to buoy her sister's flagging spirit.

Costume design is by Elizabeth Kurtzman and the artfully draped results might have been born from island materials. Costanza is in a more traditional gown, while Silvia's clothing is more fitting to her very active lifestyle. Silvia is both nymph, as Enrico calls her, and Amazon, in her fierce protective love of Costanza. Enrico is dressed in simple pareo-kum-kilt and, in watching Tom Corbeil sing, I found his throat, abdominal, serrata, and other muscles, usually not visible, moving in natural choreography becoming to a physiological play celebrating how singers sing. Gernando is in a sea-colored overshirt and a dark utili-kilt similar to Enrico's.

Costanza reiterates the litany that Silvia has grown up learning-all men are evil and their perfidy distorts their features, showing plainly on the outside the brutality within. Imagine Silvia's surprise when she first beholds Enrico.

The plot's elements proceed with passionate and serious drama interspersed with tension-lightening comedic moments, typical of opera during this period, especially with libretti by Pietro Metastasio. Metastasio juxtaposed tragedy and some comedy, but educated sensibilities began to object if the comedy was too broad. It is hard to imagine nurturing a 13-year grudge, but Costanza's fire is banked to burn for a good long time. Silvia's natural ebullience hardly dents Costanza's righteous armor.

The music itself is lovely. Mark Morris' staging puts singers into unlikely positions to be able to continue to sing from, but the cast manages beautifully. Costanza and Silvia have many graceful moments and Gernando and Enrico do as well.
The lighting design-by Michael Chybowski-is often subtle, with hardly perceptible tight spotlights illuminating individual singers like inner radiance. The lighting naturally plays across the landscape, helping to show the passage of time and the time of day, while the island occasionally revolves to aid in our perspective.

The performance is a delightful combination of the contemporary and the Baroque. Featuring new talent is a gift given to us, as well as to the new voices. Baroque music is challenging and the control and range of emotion that Kizart exhibits is memorable. Costanza is usually sung by a mezzo-soprano and both female roles venture down into chest register. Of course, women didn't always sing the female roles. Ogbonnaya shows great control and range as well, though on some of higher notes a slightly different technique may be more desirable.

Corbeil's bass-baritone arias resonated with Young Hero. His natural energy and vigor make a winsome combination with which to woo Silvia, who has never seen anything quite like Enrico. Vale Rideout's Gernando conveys the right mixture of grief, everlasting love, disbelief when he reads the inscription that occupies the island, and joyful satisfaction when reunited with his living and loving Costanza. Each person ultimately gets what he and she deserve-their just desserts. All in all, this is a very satisfying way to spend an evening.

"L'Isola Disabitata" runs through February 28 at the Gerald W. Lynch Theater, at John Jay College, located at 899 10th Avenue in Manhattan, with remaining performances on February 21, 25, 27 and 28 at 8p.m. Tickets are $30 to $75 and are available through Ticket Central at 212/279-4200 or www.ticketcentral.com. For more information, visit www.gothamchamberopera.org.