Opera Phila tells poignant tale of jazz in one word: Yardbird

Charlie Parker's Yardbird

The cast of Charlie Parker’s Yardbird presented by Opera Phila

Operatoonity.com review: Charlie Parker’s Yardbird, a world premiere co-commissioned and co-produced by Opera Philadelphia with Gotham Chamber Opera
Live performance: Sunday, June 14, 2015, 2:30 p.m.
The Perelman Theater, Philadelphia
Music: Daniel Schnyder
Libretto: Bridgette A. Wimberly
4.5 out of 5.0 stars

4.5strslg

yardbird_001

Tenor Lawrence Brownlee singing the title role Charlie Parker’s Yardbird | Photos courtesy of Opera Philadelphia

It is a rich and thrilling time in which to live when the world of opera boldly embraces the world of jazz. Virtuosos from one musical realm inspire virtuosity from another, specifically bebop or the style of jazz invented by Charlie Parker and Dizzy Gillespie that employed lightning fast riffs and sophisticated chord structures.

Opera Philadelphia presented a moving homage to the legacy of Charlie Parker with a world premiere of the chamber opera Charlie Parker’s Yardbird. The premise intrigues. On the day of Parker’s death, March 12, 1955, he arrives at Birdland to write his final masterpiece. There he encounters significant figures from his past including his mother, his past wives, his heroin dealer, and even Dizzy Gillespie until his body is identified, and he passes over into the next realm.

In this reviewer’s humble opinion, this work represents where modern opera needs to go: embracing current and timely myths and legends rather than those tales that have been done and overdone by classical composers.

Though robust, Daniel Schnyder’s musical score didn’t embrace as many dimensions as Charlie Parker’s did. Yes, Parker defined bebop together with Dizzy Gillespie, but he also played standards better than any saxophonist of his generation. I was hoping for more diversity of sound, a bit more convention and less aberration, more light and dark throughout. However, Bridgette A. Wimberly’s libretto was poignant and honest–a stunning treatment.

In the scene called ” Calvary,” Parker’s mother Addie and first wife Rebecca sing a tender duet of loss, each echoing the other’s words:

Ain’t easy, it ain’t easy to be a mother, a wife to a strong black man
This land ain’t no place for a jazz bird, for a jazz bird
For a jazz bird like my man got dreams

yardbird_004

Tenor Lawrence Brownlee was ideally voiced for the role. Vocally, he’s a monster, to borrow a term from jazz referring to a musician with chops that simply don’t quit. While Charlie Parker became addicted to heroin through no fault of his own–he was recovering from a debilitating accident–he became a drug addict nonetheless. Brownlee is, well, somewhat of a boy scout. Or at least that’s how he comes off onstage. Perhaps he is wild and raucous offstage–who knows? Regardless, a heroin addict is a theatrical challenge for the wholesome-looking Brownlee to portray convincingly.

yardbird_008

Soprano Chrystal E. Williams as Charlie’s first wife Rebecca and soprano Angela Brown as Charlie’s mother Addie.

The women in this show were a tour de force. Malleable, versatile, and adaptive, they were more than believable in their roles as discarded women, ex-wives, and illicit lovers. Angela Brown was the loving, long-suffering mother, Addie Parker whose son’s downward spiral evoked audience empathy since that she tells him he has become mean, either from the drugs or the success. She knows she has a prodigy in Charlie and can only wring her hands at his self-destructive choices. She sang with beauty and despair at his wanton choices and was warmly rewarded for her performance at curtain call.

AVA grad Chrystal Williams has been delightful in every role I’ve been lucky enough to catch her in at AVA and Glimmerglass. She can take on any role with sensitivity and believability. She has a clear, powerful soprano voice and tremendous stage presence, and I can’t wait to see her in her next role.

yardbird_009

Soprano Angela Mortellaro as Parker’s third wife Doris.

All of Parker’s wives evidenced incomprehensible devotion to him, despite his rejection and infidelity. Angela Mortellaro as Doris Parker and Rachel Sterrenberg as his fourth wife Chan brightened the stage with each appearance. Each had soaring voices and loads of presence on stage. While they each must have loved Charlie for the same reasons, it was hard to believe he could have cheated on either of these desirable women if he’d been of sound mind.

yardbird_014

Bird dies in the hotel suite of wealthy jazz patroness Pannonica de Koenigswarter or “Nica,” who endures life-shattering censure and scorn because a black man died in her segregated hotel suite. This lovely heiress, sung by Tamara Mumford with elegance and compassion, helped the audience better appreciate how much sheer appeal and charisma that Charlie Bird Parker possessed.

Tamara Mumford as Bird's patroness Nica.

Tamara Mumford as Bird’s patroness Nica.

From “Powder Her Nose” to “Silent Night” to “Dark Sisters,” it is vitally important to have a company with Opera Philadelphia’s resources and polish introducing contemporary works to today’s operagoers. Someone I greatly respect once said that if today’s opera could combine the melody of the classic works with the relevance of contemporary story, they’d have the ideal marriage of qualities to move opera forward to new audiences in the 21st century. Keep the new work and the chamber operas coming, Opera Phila. You are doing a tremendous service to the art form. Operagoers are indebted to you for your willingness to take chances and advance opera in the new millennium.

2 Comments

Filed under 21st Century Opera, chamber opera, Live opera performance, North American Opera, opera star power, Previews, Regional opera

Opera Phila’s ‘Don Carlo’ oddly satisfying

Operatoonity.com review: Don Carlo presented by Opera Philadelphia
Composer: Giuseppi Verdi; text by Joseph Méry and Camille du Locle
Live performance: Sunday, April 26, 2015
The Academy of Music, Philadelphia
4-stars

don-carlo-005

Opera Philadelphia’s Don Carlo |photos courtesy of Opera Philadelphia

The afternoon’s performance began with an announcement that role of Princess Eboli would be sung by mezzo-soprano Ekaterina Gubenova, who would warble from the wings while Michele DeYoung who suffered from bronchitis would act out the role only, lipsyncing throughout. One had to divide one’s attention three ways whenever Princess Eboli appeared–between the raked stage, the wings, and the supertitles.

The unveiling of an incomprehensible design concept followed–an octagonal backdrop that left me scratching my head because I didn’t understand how it related to story of the King of Spain marrying his son’s fiancée, a French princess, to end the war between France and Spain. The idea that one of the most powerful leaders of the Western world pined that the woman he stole from his son didn’t really love him may be a commonly romanticized Verdi sensibility but seemed ludicrous based on the actions of world leaders today.

Finally, at the beginning of the second half, an announcement was made that bass baritone Eric Owens, the show’s most luminous performer, was not feeling well and asked for the audience’s forbearance in the event his powerhouse aria wasn’t at its best.

don-carlo-006

Bass-baritone Eric Owens as King Philip II | courtesy of Opera Philadelphia

While none of those items individually are deal breakers, they did lend themselves to an unusual experience collectively. The human voice may be the frailest of instruments–we all know that. Nonetheless, the audience is disappointed when it fails the performers in the show they are so expectant to see.

Dimitri Pittas as Don Carlo and Troy Cook as Rodrigo.

(L-r) Dimitri Pittas as Don Carlo and Troy Cook as Rodrigo.

As the lovelorn Don Carlo, New York tenor Dimitri Pittas was simply a dream. He looked the role and sung with unrelenting power and fluid grace. Singing the role of his former fiancée Elisabeth was soprano Leah Crocetto, who sang sweetly and precisely but was not ideally suited for the role physically as Don Carlo’s lover, coveted by men.

Leah Crocetto as Elisabeth De Valois

Leah Crocetto as Elisabeth De Valois

Ekaterina Gubanova

Ekaterina Gubanova

While no one would wish bronchitis on any performer, DeYoung’s illness did offer a first-time opportunitiy to hear Gubanova sing Princess Eboli. She recently performed the role at the Metropolitan Opera and was in top voice. She sings with temerity and a sultry black swan quality. I will certainly be looking for opportunities to see her perform in the near future. She was mesmerizing–merely singing opera in concert.

Baritone Troy Cook from Quakertown, Pennsylvania was ideally cast as the passionate Rodrigo who convinces Carlo to ask his father for governorship of Flanders, becomes King Philip’s pawn, and loses his life. He has a compelling presence on stage with a lyric baritone that is beautiful and powerful.

The biggest name on the bill was Metropolitan Opera star Eric Owens as King Philip. Despite the disclaimer that he wasn’t feeling well, his second-half aria where he laments that fact that Elisabeth never loved him was a showstopper. I have seen Owens perform several times, and if he could have sung that aria better than he did that afternoon, it would have been an operatic miracle. That being said, it does detract from one’s willing suspension of disbelief to be notified that he was ill. I was half expecting him to collapse on stage throughout because the aria is so physically and emotionally taxing.

As evil and selfish as he is, somehow King Philip doesn’t emerge from this story as the Numero Uno Baddie. That would be the The Grand Inquisitor sung with chilling menace by bass Morris Robinson.

Eric Owens as King Philip II and Morris Robinson as the Grand Inquistor

(L-r) Eric Owens as King Philip II and Morris Robinson as the Grand Inquistor

Yes, this opera does remind the audience that the reign of the Spanish Inquisition was one of the darkest periods in Western history. Not an easy feat. Consider all the other major contenders. However, did the production have to look so dark? The costumes varied from black to jet black, the set was dark and enigmatic throughout with dark atmospheric lighting, the storyline is relentlessly dark, and the overall effect was, well, oppressive. Sometimes dark becomes darker with the occasional infusion of light and lightness.

One such reprieve very early on was the Women’s Chorus singing as Elisabeth’s attendants. They were lovely to hear and see. Remarkable that the most oppressed sound and look light and airy in this opera and the oppressors dark and heavy.

Many elements made the show oddly satisfying, the Opera Philadelphia Orchestra notwithstanding. Conducted by Corrado Rovaris, the orchestra delivered one of the most consistently striking and admirable performances of the show.

This was an ambitious show, even for Opera Philadelphia. Often in partnership with other companies, in this case WNO and Minnesota Opera, they continue to offer important and challenging works and not just those that commonly appear in the repertoire. They deserve kudos for performing complex operas that aren’t always easy to enjoy. They are making their mark in the opera firmament by being brave and often upstart, demonstrating there’s room for more than one premier company on the East Coast.

 

Leave a Comment

Filed under Classic Opera, Italian opera, opera star power, Regional opera, Reviews

LIVING ON LOVE is Laugh-Out-Loud Funny

Operatoonity.com review: Living on Love, a new Broadway comedy in association with the Williamstown Theatre Festival
Live performance: Saturday, April 25, 2015; 2 p.m.
The Longacre Theatre, 220 West 48th Street, NYC
Written by: Joe DiPietro
Based on the play: “Peccadillo” by Garson Kanin
Director: Kathleen Marshall
4.5 out of 5.0 stars

4.5strslg

 

 

Fleming and Sills in Living On Love, a new Broadway show

Fleming and Sills in #LivingonLove, a new Broadway show, with canine co-star Puccini

Maestro Vito De Angelis is a fiery egomaniac of a conductor with a wandering eye. Raquel De Angelis is a cunning operatic soprano who craves the limelight. The diminishing fortunes of this aging professional couple have reduced them to the prospect of living on love rather than basking in the wealth and fan adoration they enjoyed in their prime. The De Angelises’ marriage is in dire trouble—and the audience loves every second of their suffering.

Opera fans will adore Living on Love. However, even the opera-uninitiated will also have a rollicking-good time, perhaps without fully understanding all the inside jokes: the La Boheme-inspired doorbell chime; the Tweedledum and Tweedledee-style butlers who like Patty and Cathy Lane (of Patty Duke show fame) laugh alike and talk alike, and even walk alike while warbling operatic snippets from opera war horses such as The Barber of Seville; Raquel’s pet Pomeranian named “Puccini,” who dons an over-the-top Aida headdress while lolling in the arms of her doting mistress.

Living on Love is one solidly clever comedy, full of endearing running gags and brimming with crack shot comic performances.

Soprano Renée Fleming as fading diva Raquel De Angelis

V Soprano Renée Fleming is utterly charming as fading diva Raquel De Angelis

The show is set in New York in 1957, during a time when Leonard Bernstein is becoming a household name, much to the consternation of the Maestro played with hilarious pomposity by Douglas Sills, whose once-shiny star is dimming with each accolade of rising supernova Bernstein. The play opens with a recording of Maestro’s recollections slated for his memoir, including his confession that he made love to the entire humming chorus in Madame Butterfly though he has promised his wife, fading but still attractive enough to appeal to younger men, that his Don Juan days are over.

Douglas Sills as the Maestro

Douglas Sills as the Maestro, who claims to have made love to the entire humming chorus of Mme. Butterfly.

Maestro’s resigned to writing his life story, sucked in by the prospect of a hefty advance more than anything, but his temperamental ways and indulgent lifestyle caused him to burn through a half dozen of the publisher’s best ghost writers. As our story opens, Maestro’s tormenting the next ghost writer Little Brown sent over, Robert Samson, played with masterful spinelessness by veteran actor Jerry O’Connell. When diva Raquel played by opera great Renée Fleming returns home early because her international tour is cut short, and because money is in short supply, she decides to write a memoir, too.

Douglas Sills and Jerry O'Connell

Douglas Sills and Jerry O’Connell

Let the games begin.

Living on Love Longacre Theatre

Jerry O’Connell and Anna Chlumsky

Raquel stages the seduction of O’Connell’s gutless author for the sole purpose of enraging her philandering husband, who has laser-focused his libido on his new ghost writer, a spunky junior editor played with moxie by My Girl and Veep star Anna Chlumsky.

The legendary Fleming, America’s reigning soprano, looked absolutely scrumptious whether adorned in Carmen’s scarlet flounces or Kitty-Carlisle apricot chiffon, and endeared the audience by poking fun at her and her notoriously tempestuous ilk. The audience savored every note of the tiny bit of operatic singing she did during what is essentially a straight play that is merely music infused.

Renée Fleming, set to seduce, with Anna Chlumsky looking on

Renée Fleming, poised for seduction, with Anna Chlumsky

Fleming moves with elegance and grace–her presence fills a room. Her comic timing was surprisingly effective considering that she reigns the domain of operatic song. However, the actors cast around her were so stellar—pitch perfect delivery and expert comic timing at every turn—that she was at times outschooled by the Broadway veterans.

In this production, the men absolutely stole the show, from Douglas Sills’ side-splitting running gags (“shiny boy”) to his goofy hairstyles—whether coifed by maple syrup or inspired by Beethoven’s 5th—to Jerry O’Connell (aka “shiny boy” himself), who gave an unforgettable performance as the tortured ho-hum American novelist.  How anyone can be so attractive bear-chested as O’Connell and still be painfully  insecure can only be a testament to his extraordinary acting skills.

"Makin' Whoopee"

Scott Robertson and Blake Hammond (l-to-r) whooping it up while the bosses are preoccupied & “Makin’ Whoopee”

Last but certainly not least was the comic duo of Blake Hammond and Scott Robertson as the stiff-upper-lip butlers who let loose when the master and mistress of the Manhattan pied-à-terre were otherwise occupied. Their “Making Whoopee” vocal and piano duet brought down the house. And there’s nothing anyone can do about it.

All of the production values one expects to see in a Broadway comedy were in abundance—superior set design and décor, elegant costumes, inspired sound effects, foolproof jokes. Credit director Kathleen Marshall for instilling a winning esprit de corps among her troupe and mining comic touches and sight gags at every possible turn.

Living on Love Longacre TheatreThis is a charming show that succeeds without sequined roller skaters, creepy phantoms, or jaw-dropping sets flying in from the wings at warp speed. When it comes to Broadway, in this reviewer’s humble opinion, superior comedic writing, solid directing, and great acting still trump spectacle.

Tickets are available at the show’s website. You can also follow the show on FacebookTwitter, and Instagram. Find out more about the show by googling #livingonlove.

 

1 Comment

Filed under music and humor, Reviews, sopranos

soprano’s memoir “Call Me Debbie” a 5-star read

Operatoonity.com Book Review: Call Me Debbie: True Confessions of a Down-to-Earth Diva
Author: Deborah Voigt with Natasha Stoynoff
Publisher: Harper, an imprint of HarperCollins
Genre: Memoir
ISBN: 9780062118271
ISBN 10: 0062118277
Publication Date: January 27, 2015
Binding: Softcover (Advance Review Copy)
Pages: 271
5.0 stars

five stars

book cover

One can only peer into those deep blue eyes staring out at you from the cover of Call Me Debbie and wonder how this talented American opera star with the Midwestern good looks could have ever written an engaging memoir? Even into her 50’s, she looks like someone whose life must have been a fairy tale. America’s sweetheart, right?

Memoirs need to be jawdroppingly honest, gritty, and maybe even a little dirty to capture my interest. What could possibly be dirty, gritty, or jawdropping in Deborah Voigt’s life with her gifts and star power? What indeed.

The book’s subtitle Confessions of a Down-t0-Earth Diva does a great disservice to Voigt’s gripping life story. It makes those confessions sound wholesome and entertaining. On the contrary, this book is gutsy and brave. It is startling and, at times, horrifying and deserves loads better than the cheesy subtitle the Harper team slapped on it to attract more readers or a wider reading audience.

Deborah Voigt has one helluva life story to tell and does so with incredible candor and self-effacement. It is a story of emotional abandonment, family-of-origin issues, addiction, size discrimination, self-destructive behavior, promiscuity, self-recrimination, recovery, and rebirth.

Her memoir is divided into three sections: Act I , Piccola; Act II, Accelerando; and Act III, Crescendo.

Piccola is about her growing up in a too-strict household infused with Southern Baptist values, one that saddled her with self-esteem issues that would plague her throughout her adult life. It’s about her natural gifts bubbling to the surface despite her parents’ marital issues and emotional abandonment–the spankings, the jibes, the senseless strictures.

But the memoir really takes off during Act II, per this reviewer, when the reader takes the road with Debbie, vicariously experiencing the intense pressure and the scrutiny of reviewers, audiences, and professional colleagues, while battling the ever-present loneliness that comes with being an international opera star who must travel extensively to work.

While Voigt’s reputation grows because there is no denying her extraordinary gift, so does her size. At one point in the memoir when she is at her heaviest,  she comments that “it’s always open season on fat women.” Listen to this performance of Voigt singing “Dich, Teure halle” from Tannhauser with James Levine conducting, and tell me why it matters in the least what size she is:

YouTube Preview Image

In the opening pages of the memoir, she reveals that she heard God tell her that she was on the earth to sing. After listening to that soaring aria, can any hearing person dispute that God spoke to her like she believes?

Throughout the memoir, Voigt does “kiss and tell”, which makes for occasionally juicy reading, but she also does the equivalent of opening a vein and bleeding out her “sins” and scandalous double-life of binge eating and drinking and one-night stands with men not nearly good enough or decent enough for her.

The hardcover version comes with an 8-page color insert, which sounds ideal. In the Advance Review Copy (ARC) I read which was softcover with no insert, I found myself going to the Internet to see photos of Voigt throughout her professional journey and listening to clips of her arias on YouTube. So, I would recommend the hardcover because of its compelling photographic insert.

Deborah Voigt

Deborah Voigt, before and after her gastric bypass surgery.

As a rule, I don’t read memoir.  It’s extraordinarily hard to write memoir well because you must reveal unflattering things about yourself and your loved ones. Not everyone can do it believably. Most people can’t be that honest and self-effacing.

Besides dropping half her size, if shedding the weight of the double life she was leading (acclaimed artist by day; drunk out of her mind and sleeping around on her days off) led to her recovery, than toi, toi, toi, Ms. Voigt. There are many, many people cheering you on and wishing health, happiness and peace, besides this fan. Please never forget that.

* * *

book coverSpecial Operatoonity Giveaway:
If you’d like to win your own softcover copy of “Call Me Debbie,” leave a comment on this blog below. One winner will be selected by April 15.

Disclaimer: A copy of Call Me Debbie was supplied by Harper in exchange for an honest review.

 

6 Comments

Filed under 21st Century Opera, artists, Best of Operatoonity, Book reviews, Heartstoppers, North American Opera, Richard Tucker prize winners, sopranos

The Importance of Opera Philadelphia: ‘Oscar’ Review

Operatoonity.com review: Oscar presented by Opera Philadelphia; a co-commission and co-production with The Sante Fe Opera
Live performance: Sunday, February 15, 2015
The Academy of Music, Philadelphia, PA
Music: Theodore Morrison
Text: John Cox and Theodore Morrison
Photos: Courtesy of Opera Philadelphia

4.0 stars

And the Oscar goes to . . . Opera Philadelphia!

It may be Oscar Weekend across the globe, but for the last two weekends, Opera Philadelphia, the City of Brotherly Love’s preeminent opera company, deserves an Oscar for offering the East Coast premiere of a new American opera of the same name, co-commissioned and co-produced with The Sante Fe Opera.

Oscar’s production values were exquisite. Philadelphia audiences were treated to a world-class performance by arguably the world’s most outstanding and in-demand countertenor David Daniels. But most importantly, a new American production was ushered into the repertoire–one with heft, musical beauty, and promise for a fresh new future for opera, one that isn’t reliant on tasteless regietheatre-style regurgitations of classic operas or endless reproductions of La Traviata.

Countertenor David Daniels played the title role of Oscar Wilde in a role written for him. Photo | Opera Philadelphia.

As a new production, as new productions are wont to be, the show itself had some imperfections, which is why I gave it four stars. While it was a noble choice to paint Wilde as a tragic hero, the parts of Wilde’s life highlighted in Oscar combine to recreate a sort of grim limbo.  From time immemorial, “new” productions have been refined or reworked based on audience and or critics’ reactions. While Theodore Morrison’s music was resonantly and refreshingly melodic, the overall tone of the show itself needed a little polishing and more seamless integration, as if Morrison and Cox couldn’t decide what kind of show it was supposed to be. Oscar is alternately a despairing commentary on insufferably rigid Victorian mores and occasionally broadly satirical while very rarely bright. Agreed, dehumanization and imprisonment of human beings because of their sexual preferences aren’t the stuff of uplifting subject matter.

While Oscar effectively showcased the stain of intolerance on humanity, it rarely conveyed Wilde’s bright and often biting wit. Wilde himself used humor to lampoon societal values during Queen Victoria’s time. Yet, there are only glimmers of his comedic genius in the libretto, lines such as, “Absinthe makes the heart grow fonder.” The broad satire of Wilde’s trial to close Act I was nothing short of a tour de force:

The satirical representation of Wilde’s trial for indecency was a stellar scene in Oscar but also sadly creepy. Photo | Opera Philadelphia

However, irony might have also served this production. Generations of theatregoers derived intense pleasure and entertainment from a beloved playwright’s public genius but reveled in the condemnation of the same man’s private proclivities.  With such an unrelentingly dark treatment, more brightness would have made the dark scenes that more impactful. One broadly satirical scene does not an eye-popping production make.

Baritone Dwayne Croft sings the role of the ghost of Walt Whitman. Photo | Opera Philadelphia

One of the show’s welcome devices was making a narrator out of the ghost of American poet Walt Whitman, who sets the scene for the drama. Whitman met Oscar Wilde during his 1882 American tour but had passed away by the time Wilde reached the height of his fame. This from-the-grave commentary intrigued. Whitman ellipses the time between the premiere of  Wilde’s Lady Windermere’s Fan and his prosecution for “gross indecency.” Again, a bit more of Wilde’s life as the toast of London would have made his fall from grace that more deeply felt.

Baritone Dwayne Croft was perfect in the role of Whitman, which required an immortal grace, and he was equal to the task in voice and presence.

Without equivocation, the writers drove home Wilde’s obsession with his young lover Bosie. Making Oscar Wilde’s young lover a non-speaking balletic role was an inspired device, lending the production a welcome elegance and beauty.

As Bosie, Reed Luplau, a dancer from Western Australia, made a stunning Opera Philadelphia debut. Seán Curran’s choreography fit Luplau like a kid glove as Luplau dipped and glided into Wilde’s reverie, evoking the Irish-born playwright’s tortured longing for a sheerly lovely young man, whose father, the Marquess of Queensbury, was committed to Wilde’s downfall. 

Australian dancer Reed Luplau as “Bosie” was the essence of sensual elegance. Photo | Opera Philadelphia

The roles of Ada Leverson and Frank Harris were expertly sung by soprano Heidi Stober and tenor William Burden, a standout from last season’s Silent Night. Both performers valiantly endeavored to make their mark but were unfortunately burdened (pun wholly intended) by three very slow-moving scenes. While it is a time-honored operatic technique to comment on action that has occurred earlier, such as Frank’s infamous luncheon parties in the old days or Whitman’s devolution into poverty at his end, it’s not necessarily the most dramatically punchy technique.

Soprano Heidi Stober and tenor William Burden sang the roles of Wilde’s loyal friends. Photo | Opera Philadelphia

So, the show overall is flawed, but Opera Philadelphia’s execution was just about flawless. One can’t underestimate the value of their partnership with The Sante Fe Opera on this endeavor. These co-productions turn out to be much greater than the sum of their resources. Ingenious sets; world-class performances; inspired direction, lighting, and costumes are just a few values that one can expect when companies cooperate rather than compete. A very capable Opera Philadelphia orchestra conducted by Evan Rogister in his Opera Philadelphia debut showcased the compelling musical voices Morrison has created to tell the story, without overwhelming the singers.

The privations of jail led to Wilde’s deteriorating health and early death. Photo | Opera Philadelphia

Opera Philadelphia is taking on important work and more than a little risk with works like Oscar. They are informing and shaping the landscape of new American opera and will continue to do so with this season’s Charlie Parker’s YARDBIRD and next season with another East Coast premiere of Cold Mountain by Jennifer Higdon and Gene Scheer.  And the entire opera firmament is better and stronger for their daring to reach beyond what is known and comfortable.

 

2 Comments

Filed under 21st Century Opera, Collaborative opera, contemporary opera, favorites, Interdisciplinary arts, Live opera performance, memoir, North American Opera, opera challenges, opera firsts, Reviews, Uncategorized