29 Apr 2011
Séance on a Wet Afternoon
Saturday, April 23 was indeed a rainy afternoon in New York City.
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
Michael Grandage's production of Mozart's Le nozze di Figaro, which was new in 2012, returned to Glyndebourne on 3 July 2016 revived by Ian Rutherford.
Saturday, April 23 was indeed a rainy afternoon in New York City.
But, despite what you may have read, Stephen Schwartz’s new opera is far from all wet. In fact, last weekend’s matinee at the David H. Koch Theatre was as much a success as it was a séance. NYCO’s East Coast premiere production of Séance on a Wet Afternoon, based upon the novel by Mark McShane, epitomizes what the company stands for and points towards what opera in America can be. The staging is smart and engaging, the music is used to forward the drama, the singers are equally talented as actors and musicians, and the result is both emotionally satisfying and thought-provoking. So why, when there are $12 tickets available, are there empty seats?
For opera lovers, there is plenty to enjoy— pathos, demanding vocalism, and lush orchestration unlike what you would find on a Broadway stage. The music is accessible (yes, perhaps overly so), the acting polished, and the show definitely benefits from its Broadway pedigree. Whatever your proclivities or demographic, this art is meaningful and relevant, and it should not be missed.
Together, father and son team Stephen and Scott Schwartz (acting as composer/librettist and director, respectively) have created a compelling theatrical event. From the moment the curtain rises during the highly cinematic overture to reveal a stage hung with black metal chains, the audience is swept along in suspense by the music and drama (thanks, in large part, to the efforts of conductor George Manahan). Much of the first act takes place inside the home of the Bill and Myra Foster, and Heidi Ettinger’s set struck an ideal balance between an appropriately prosaic environment for the domestic drama and a space where uncanny things can happen. The transparent walls suffuse with color and light, then disappear altogether, and the audience’s perspective on the drama is allowed to shift as the house itself rotates.
As Myra and Bill Foster, a couple who conspires to kidnap a child in order to boost Myra’s career as a medium, Lauren Flanigan and Kim Josephson are ideally matched to both the material itself and to each other. It should come as no surprise that Flanigan excels here— she is a NYCO veteran and a powerhouse singing-actress. Kim Josephson, in his NYCO debut, matches her intensity and makes good use of the opera’s best material. Melody Moore, in the role of the kidnapped child’s mother, stands out as well. Were this production mounted on Broadway, Ms. Moore would undoubtedly be nominated for a Tony award. She meets every vocal and dramatic challenge and breathes life and individuality into a role which could easily be reduced to a trite stereotype. As with Mr. Josephson, Ms. Moore is making her company debut with this production and both artists exemplify the company’s success in its mission to bring compelling performances of new works to New York City audiences. Unfortunately, as Charles Clayton, tenor Todd Wilander did not live up to the standard set by his partner. He was vocally cautious and played every obvious emotion rather than establishing a connection with his excellent partner.
As a quartet of Myra Foster’s regular clients, Jane Shaulis, Pamela Jones, Doug Purcell, and Boyd Schlaefer played their individual parts with plenty of verve and worked well as an ensemble. Phillip Boykin brought vocal and physical gravitas to his role as the Inspector. The two children in the cast, Michael Kepler Meo and Bailey Grey, are both veterans on the stage and their performances were on par with their adult cohorts. The chorus of reporters was well-rehearsed by both chorus master Charles F. Prestinari and choreographer Matt Williams, but their material was largely irrelevant and repetitive.
As previously mentioned, this production is not without flaws. Inevitably, the singing is not as good as one would hear at the Metropolitan Opera next door, nor is the diction as good as that heard on Broadway. While there are many effective bits of theatrical magic (including bodies coming together to form a streetcar and a black-and-white portrait that gains color during an emotional aria), the overall drama of the piece is often undermined by Schwartz’s own libretto. For the most part, every bit of suspense in the plot is used to maximum effect but the scene in which Myra is in the room when the kidnapper (his own husband) calls the Claytons falls flat. Furthermore, Myra’s aria at the top of the second act hardly serves to develop the drama, the music, or her character and it could easily be cut.
All in all, Séance on a Wet Afternoon is an exciting opera to watch, not only because of the suspenseful plot, but also because it speaks to the future of opera in America. Yes, the music lacks complexity but, just as not every movie is made to win an Academy Award, not every opera is meant to stand up to repeated listening. Séance is not an opera for the future in the sense that it will remain in the repertoire forever. Rather, the work itself and the quality of this production speak to a democratization of opera itself and the encouraging trend that, finally, American artists are adopting the genre as their own.