01 Aug 2009
‘Opera Noir’ Entertains at Santa Fe
Can a famously successful movie be made into an effective opera? A quick answer is: yes!
If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.
Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Can a famously successful movie be made into an effective opera? A quick answer is: yes!
Santa Fe Opera has made it happen with William Wyler’s 1940 motion picture, The Letter based on Somerset Maugham’s 1920s short story and play, and now an opera. It may well be the sleeper of the Santa Fe season, unusual for a newly commissioned opera.
Within a dark toned sparsely furnished residential stage set, four collapsing palm trees grimly lowering in the background of a hot and smelly Malay rubber plantation house, a bored housewife is carrying on a torrid affair with a local dandy, her often absent and somewhat dull husband unaware. In the Wyler movie, the main feature of which is Bette Davis as Leslie Crosbie the erring wife, moments after the show opens we hear gunfire as her lover Geoff Hammond staggers across the verandah, Leslie emptying her six-shooter into him in a jealous rage. Bette Davis did it with fervor, and believe me, Santa Fe’s soprano Patricia Racette does the deed with equal vehemence. We were off to a strong start, and the intensity rarely lets up over the 100-minute opera.
Anthony Michaels-Moore (Robert Crosbie) and James Maddalena (Howard Joyce)
The Santa Fe team, led by composer Paul Moravec with librettist Terry Teachout, musical director Patrick Summers and stage director Jonathan Kent, took a chance patterning their new opera so closely on the ‘noir’ qualities of old movies, but that was exactly the tone they wanted to establish for this sordid little story, and they got it right. Even more successful is the musical score by Paul Moravec, a professor of music at Adelphi University. Worry not, this is no academician’s tepid exercise — it’s a rip-snorting adventure in high-class movie music with the likes of Bernard Herrmann, Eric Korngold and Max Steiner hovering in the background. Moravec’s music is fluent and beautifully orchestrated. The tonal score is through-composed, no pauses for arias or set pieces aside from brief moments, with a good sense of storytelling and excitement resulting.
It turns out Moravec, in his first opera, is a wise and able theatre composer who knows to keep his orchestra subdued for key passages of exposition and musical dialogue, but can unleash his violins and woodwinds in romantic mood music to evoke the sweeping “love me forever passages” of Leslie and Geoff’s affair. Don’t laugh, but when it comes to writing music and vocal lines that can narrate and sustain mood, Moravec impressed me as having it all over the cognoscenti’s current darlings, Kaija Saariaho or Osvaldo Golijov, also lately heard in new works at Santa Fe. Sometimes it feels good just to get down to storytelling without trying to make musical history.James Maddalena (Howard Joyce), Mika Shigematsu (A Chinese Woman) and Rodell Rosel (Ong Chi Seng)
Meanwhile, back at the plantation, Leslie has been caught out not only in her affair with Goeff, but his murder as well. Once she discovered Geoff was through with her, preferring his new Chinese mistress, Leslie popped him off, a woman scorned. But that’s not all: her husband Robert has to come up with a lot of cash to buy back a letter Leslie stupidly wrote to Geoff inviting him over the night she shot him, a piece of evidence that would convict the lady. The letter fell into the hands of Geoff’s mistress, and now the Chinese woman wants to cash in. Of course it will ruin husband Robert Crosbie, played and sung with great effectiveness by Anthony Michaels-Moore, using his life’s savings to redeem his adulteress wife. Sticky, eh?
Roger Honeywell (Geoff Hammond)
Coming to the rescue is Howard Joyce, Robert’s lawyer friend, who manages to buy and repress the letter, and convince a Singapore British jury to let Leslie off, claiming she was the victim of Geoff’s violent attempt to rape her. The one-act opera ends in a big mess, romance gone, careers compromised, and then in a coupe-de-theatre, Leslie takes matters into her own hands and resolves her dilemma. I’ll not reveal the quick denouement.
Ms. Racette, Michaels-Moore, James Maddalena as the lawyer, and assorted secondary role singers could not have been any better. Roger Honeywell, Rodell Rosel and Keith Jameson, all tenors, played key parts in the show’s success, with the Santa Fe Opera orchestra and conductor Patrick Summers wonderfully effective in their central role. Patricia Racette is a marvel; her full lyric soprano voice is in solid shape, used with skill and much dramatic effect. She has an expressive face, and is an actor of the first order. It was a pleasure to encounter her strengths in this prima donna role. For now, she owns the part. Others will soon want to.
The Letter may to some degree be a work in progress; it seems fairly well finished, if a few minutes too long. The intensity of the Maupassant-esque plotting with all its ironies is well maintained, with good rhythm and tempo, rhetorically and musically. But in a departure from Maugham and Wyler, Morevec added a short scene in which the Chinese woman (the fine Japanese mezzo Mika Shigematsu), comes to the lawyer to deliver the letter and collect her cash. Unfortunately she is given not only a voice in the proceedings with a short aria, but brings up issues that only obfuscate and delay. I hope the authors will rethink that scene. Much effect was gained by Wyler in keeping his mysterious Chinese woman quiet — a strong presence but generalized. There can be too many ‘specifics,’ sometimes in dramatic plotting, and The Letter has a few. In the main it is unusually engaging, well-paced entertainment, handsomely performed.
J. A. Van Sant ©2009