by Dyane Hendricks

Sarah Barber is the flirtatious gypsy in Carmen.

The genesis of opera is found in the 16th century when Italian royalty, aristocrats and persons of wealth hired singers and musicians to perform in the intimate settings of their palaces and courtyards to perform stories of passion, revenge and ribaldry.

Audiences can experience that same  intimacy today at West Bay Opera, a mainstay of Peninsula performing arts since 1955 when founders Henry and Maria  Holt settled in Palo Alto. The company performs at the Lucy Stern Community Theatre in Palo Alto, where the 400-seat hall offers an intimacy between the performers and audience that can be missing at larger venues, explains José Luis Moscovich, general director for  the opera company.

“You can revel in the passion,” he says. “You experience the music with your whole body.” The logistics of the small    theatre allow the audience to see the facial expressions of the singers without binoculars. “You can actually see how the soprano is feeling.”

All the performances are fully staged. Colorful and vibrant sets provide the background for the singers in costumes that   reflect the music and stories. “We really want the audience to be fully engaged,” Moscovich says. “It’s about the commitment to the opera.”

That commitment impresses Jeri Dansky of Half Moon Bay, who confesses she had no great love for opera before attending performances of the Peninsula company. “I was never an opera fan until I started attending West Bay Opera,” she says. But after experiencing the staging and the magnificent singing she became a convert. “The performances are consistently good and I actually prefer it over  San Francisco Opera.”

Playing in the tenured orchestra are 27 musicians who audition to perform. At the core is a group of musicians who play every season; they know each other and know the company. West Bay Opera can boast principal singers — including Luana DeVol, Jason Detwiler and Patricia Schuman — who are performing in major companies in the United States and Europe.

Moscovich himself is the principal  conductor, but a cadre of guest conductors range from nationally known artists to emerging and talented professionals who are gaining valuable experience through their work with West Bay Opera. Audiences get the chance to learn more about the operas from the directors and conductors during open discussions following each Sunday matinee.

Maintaining a deep connection to the community is a vital part of the company’s mission. While the orchestra and principal singers are professional, the volunteers provide the voices in the chorus. Auditions for the chorus are held separately for each show. Volunteers are also a vital part of the behind-the-scenes work involved in each   performance, serving in roles ranging from set construction to costume design to box office management. The West Bay Opera Guild is the primary volunteer organization for the company.

Singing in the chorus is JoAnn Close, who refers to opera as “my favorite team sport.” She calls the company very professional but at the same time there is what she calls a nice balance with the volunteers. “You get to work with top-level music directors and stage directors,” says the mezzo- soprano, who marks her ninth performance with the company in October’s presentation of George Bizet’s Carmen. Close is also impressed with the work the volunteer crew does with the costumes and sets. “The sets are completely amazing, especially for that tiny stage,” she says.

Through the course of West Bay Opera’s history the company experimented with less traditional performances, but since Moscovich became general manager 1 ½ years ago, the focus has shifted back to   the basics. “When you present the work you must respect it,” he says. That respect is  extended to the original period of the pieces and the music itself. “I find that the orchestration is best served when left alone,” he says. “That can be challenging but the trade-off is worth it.” Staying true  to the original orchestration and staging is attracting new audience members.

In addition to Carmen, West Bay Opera performs Orfeo ed Euridice in February and Madama Butterfly in May. There is also an Opera in the Schools program that gives students the opportunity to experience opera firsthand.

For more information about West Bay Opera, call 650-424-9999 or visit www.wbopera.org.