‘‘Arabella’’: Tim Albery’s handsome, traditional production conveys the bittersweet charm of this story about a bankrupt family trying to marry off their daughter in pre-World War I Vienna. But it can’t mask the awkward plot machinations left when Hugo von Hofmannsthal died before he could rework his libretto. Soprano Erin Wall conveys the heroine’s melancholy better than her high spirits, but she sings with luster in her middle voice and soars beautifully in the higher reaches. Soprano Heidi Stober is delightful as her sister Zdenka, and baritone Mark Delavan makes a powerhouse Mandryka, the wealthy farmer who wins Arabella, though his tone has become a bit woolly. Sir Andrew Davis conducts.
‘‘King Roger’’: In a program note, director Stephen Wadsworth describes this strange work, which premiered in Warsaw in 1926, as ‘‘a sort of fever-dream.’’ Based loosely on Euripides’ ‘‘Bacchae,’’ the plot depicts the struggle of a 12th century Sicilian king to reconcile his rational and sensual sides. The latter is represented by the Shepherd, who exerts an overwhelming sexual attraction on everyone he encounters — including both Roger and his wife, Roxana. Wadsworth’s production is elegant but a bit static, reinforcing the feeling that the work is as much oratorio as opera. Polish baritone Mariusz Kwiecien conveys Roger’s suffering with great power; soprano Erin Morley sings Roxana’s aria with ethereal tone; and tenor William Burden is a clarion-voiced Shepherd, though it’s too bad this embodiment of virile youth looks older than the king. Evan Rogister conducts.
The season, which runs through Aug. 26, arranges its schedule so visitors can see all five productions on consecutive nights as this reviewer did last week. The cycle repeats starting Monday, Aug. 6, and again Monday, Aug. 13.