Category Archives: 21st Century Opera

@OperaPhila’s ‘Skin’ a Frosty Chiller

Operatoonity.com review: Written on Skin presented by Opera Philadelphia
Live performance: Sunday, February 11, 2:30 p.m.
The Academy of Music, Philadelphia
Music: George Benjamin
Libretto: Martin Crimp
4.0 out of 5.0 stars

 

 

“Love’s not a picture; love is an act,” sings Agnès (soprano Lauren Snouffer) to the Boy (countertenor Anthony Roth Costanzo) as she offers herself to him in Opera Philadelphia’s Written on Skin. | photo by Kelly and Massa for Opera Philadelphia

Of all the East Coast opera houses that have premiered contemporary operas, Opera Philadelphia has introduced more than a few compelling, arresting, and culturally and socially profound works and co-productions into today’s canon. I’ve reviewed numerous of those operas, some of the most unforgettable being Cold Mountain (2016), Ainadamar (2014), A Coffin in Egypt  (2014), Silent Night (2013), and Dark Sisters (2012).

Their latest premiere, Written on Skin, is brave. The production elements are exquisite, ingeniously designed with a richly beautiful palette of  deep blues and burnished golds. The voices are world-class. But unlike some @OperaPhila shows that got under my skin, this Skin left me cold.

The design palette for Written on Skin intrigued while the tonal palette alienated. | photo by Kelly and Massa for Opera Philadelphia

The tale at its heart, pun entirely intended, is chilling. A powerful and cruel medieval plunderer and pillager learns his wife (who is no more than goods and chattel to him) is having a consuming love affair. He cuts out her young lover’s heart and feeds it to her. She then throws herself to her death.

“See … how I pause her mid-fall,” sings the Boy (countertenor Anthony Roth Costanzo) as Agnès (soprano Lauren Snouffer) jumps from the balcony. | photo by Kelly and Massa for Opera Philadelphia

It’s a grisly story that makes for good theater and potentially great opera. However, many operatic devices are hardwired into the opera to estrange the reader from fully engaging with it: dissonant, haunting music that is both atonal and arrhythmic; characters referring to themselves in the third person in the narrative to distance themselves and the viewers from the story; a sardonic libretto. Why? I can only assume it’s to make the work less accessible and more artful and to get the viewer to work harder to appreciate and understand it. In a Reader’s Guide written by Dr. Dan Darigan on the style of  author Martin Crimp, which @OperaPhila supplied to reviewers, Darigan says, “Written on Skin is an opera that continues to make me think…my appreciation for this opera was not something that set in right away.”

The performances and the production elements are certainly worthy of appreciation—no—hearty accolades. In her @OperaPhila debut as Agnès, soprano Lauren Snouffer was luminous. She sang with a clear shimmering and silvery tone and embracing her role as a dispassionate young wife who awakens into her own skin when she has an affair with the Boy.

Agnès (soprano Lauren Snouffer) visits the workshop to learn “how a book is made.” | photo by Kelly and Massa for Opera Philadelphia

Countertenor Anthony Roth Costanzo sang the Angel and the Boy, who becomes sexually entangled with the Protector’s (wealthy landowner) wife when he is hired to illustrate the Protector’s family history. Roth Costanzo is gloriously talented, investing himself in every role I’ve seen him conquer and is surely one of the finest countertenors singing professionally today. My only issue with his role is one not of his own making. As the Boy, Roth Costanzo enters into a sexual liaison with a married woman. The character name Boy is totally off-putting in this “woke” age. This opera is less than 10 years old and premiered in the U.S. in the throes of the “Me, Too” movement. The implications of a Boy entering into an affair with a grown woman and then having his heart cut out by her murderous husband honestly made my skin crawl.

The Boy (countertenor Anthony Roth Costanzo) in Written on Skin | photo by Kelly and Massa for Opera Philadelphia

Naming a lead character the Protector is the greatest irony of this piece. The libretto reveals that the Protector is sacking villages, impaling babies, cutting the hearts out of young men. He places inhuman strictures on his wife as observed from lines such as “No pure woman asks for a kiss. No clean woman asks to be touched,” and then he tells his wife she is “a child.” A child he married and is made to eat her lover’s heart. Mark Stone has a serviceable and sturdy baritone which he pours into his alternately self-aggrandizing, menacing, and murderous character—the sheer embodiment of toxic masculinity. Overall an outstanding performance in a loathsome role.

The Protector (baritone Mark Stone) is “addicted to purity and violence.” | photo by Kelly and Massa for Opera Philadelphia

Only two other roles need mentioned: Mezzo-soprano Krisztina Szabó and tenor Alasdair Kent. Like Roth Costanzo, they each sang two roles, fluidly moving between the essential characters of Marie and John and the ironic Angels, who function like a Greek chorus, commenting on the action rather than advancing it. Each delivered striking turns and earning their wings, especially as the Angels, who were more demons than do-gooders.

John (tenor Alasdair Kent), Marie (mezzo-soprano Krisztina Szabó), and the Boy (countertenor Anthony Roth Costanzo) in Written on Skin. | photo by Kelly and Massa

The production was beautifully conceived and executed as more futuristic than literal. At one point, the illuminated square pages of the book are writ large on  similarly shaped set pieces to suggest the Protector’s story has grown so large as to consume their lives—a pure dead brilliant device. The lighting, the set, the direction, the costumes yielded a seamless integration of effects to haunt and to terrorize.

Agnès (soprano Lauren Snouffer) confronts the Boy (countertenor Anthony Roth Costanzo). | photo by Kelly and Massa for Opera Philadelphia

Before writing this review, I poured through a copy of the libretto, which is artfully crafted. It  dares and arrests and challenges in the way one expects from great works and improves upon more careful review. My issues are that the foundational elements have made it nearly impossible to enjoy and virtually inaccessible. By contrast, composer Stephen Schwartz created an opera based on another grisly tale Séance on a Wet Afternoon (my review here), which New York City Opera brought to the East Coast in 2011. The New York cognoscenti dismissed the production for its accessibility. Unlike this production, Séance  never tried so hard to be art and offered a much more fulfilling theatrical experience.

I am not “the woman” declares Agnès (soprano Lauren Snouffer) to the Boy (countertenor Anthony Roth Costanzo). “My name is Agnès.

I applaud Opera Phila for their derring-do, to bring this kind of work to the mainstage and for an exquisite piece in terms of production values. It’s not a show, however, that made me comfortable in my own skin. They can and have produced works that aren’t merely droll and accessible nor dripping with alienation.

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Well, hello, Glimmerglass Festival! So nice to be back…

The Glimmerglass Festival Alice Busch Opera Theater. Designed by Hugh Hardy, the theater features unique sliding walls that open prior to performances and at intermission. Photo: Karli Cadel/The Glimmerglass Festival.

Tucked away in a corner of verdant Otsego County along Lake Otsego, is a vibrant summer-only homage to opera and music called the Glimmerglass Festival. With each year I return, I try new and different things and take part in more of what Glimmerglass has to offer. For people like me who love musical theater and opera, it is “my corner of the sky.”

Yesterday afternoon, I had the privilege of taking in one of their ancillary events, and it was a privilege, believe me The event was billed “An afternoon with STEPHEN SCHWARTZ.” Schwartz is the award-winning composer-lyricist of GodspellPippin, Wicked, and the full-length contemporary opera Séance on a Wet Afternoon. For about an hour, he held court on the Main Stage of the Alice Busch Opera Theater, sharing introductions to his songs, mostly performed by members of the Young Artists Program.

Godspell and Pippin both hold special places in my heart. I performed in both and have directed a junior version of Godspell as an educator. They also presented material I hadn’t seen performed before from The Baker’s Wife and The Children of Eden.

Schwartz talked about how musical and theater and opera used to be parallel tracks for separate trains–my metaphor, not his. But how many young artists today can crossover to musical theater style singing. Case in point. Leah Crocetto, whom I last saw in Opera Philadelphia’s Don Carlo. She is a wonderfully gifted soprano, who belted out several terrifice musical theater numbers during this performance. Yes, this woman has a chest range, and she’s not afraid to use it. (Believe me, I appreciate that chest range isn’t the dirty word it used to be. I mean, no serious student of vocal performance was encouraged to sing in their chest range.)

The Young Artists presented two numbers from Séance on a Wet Afternoon, an opera I reviewed for Bachtrack in 2011, which I absolutely adored.

Séance on a Wet Afternoon is a two-act contemporary opera with music and libretto by American composer Stephen Schwartz

Even considering the numbers from Séance, the most enthralling portion of the program was when Schwartz sat down at the piano and sang a ballad from Wicked. This was a lifetime opportunity for the founder of Operatoonity.com, and I couldn’t stop tears from streaming down my face. Simply, a bucket list experience.

Tomorrow, I am seeing Porgy and Bess, featuring a very talented bass-baritone I first saw perform at the Academy of Vocal Arts in Philadelphia, where he was a student: Musa Ngqungwana.

Porgy will be sung by Musa Ngqungwana and Bess by Talise Trevigne | photo by Karli Cadel

I plan to attend the Porgy show talk which takes place an hour before curtain, and I’ve even roped my daughter and her boyfriend into attending as well. Monday, its The Seige of Calais followed by Stars Night Out in the Pavilion, a thoroughly enjoyable little cabaret, when the festival stars let their hair down and sing their favorite pieces–not necessarily arias either.

The beautiful grounds, the picnicking and outdoor cafe seating options, the opportunity to enjoy a glass of wine or beer at the festival, the acoustics of the theater in which every seat is a great seat are all reasons that keep bringing me back to Glimmerglass, year after year.

Glimmerglass Festival offers more than 40 performances of four operas each July and August. Productions have been presented in repertory since 1990.

You can fangirl/boy Glimmerglass on Facebook, follow them on Twitter at @GOpera, and read their blog. For more about the Glimmerglass season, click here.

Here’s a great little video on what it takes to put the Glimmerglass Festival together:

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Why co-productions? @OperaPhila exec explains

Following the success of Opera Philadelphia’s Turandot–a co-production with several other renowned companies– I thought it would be valuable to reach out to that company to better understand the co-production and why it has become a mainstay of their season.

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David Levy, Opera Philadelphia

Opera Phila’s Vice President of Communications Frank Luzi confirmed that much of what is offered these days at Opera Philadelphia is co-produced. Some shows like Turandot have gone to many cities over many years and other new works like Cold Mountain are co-produced with a few key cities in mind.

Luzi suggested I speak with David Levy, Senior Vice President of Artistic Operations at Opera Philadelphia. Levy oversees the production, music and artistic administration, and operations for the Opera. He has put together numerous co-producing deals during his career. Coincidentally, he was hired the same year David Devan was hired as General Director.

As a bit of background, Levy came to Opera Philadelphia as Director of Production in 2011, following five years in the same position with Kentucky Opera. From 2000 to 2006 he worked at Washington National Opera as Artistic Administration Manager. He received his M.F.A. in Stage Lighting Design from UCLA in 2000. Between 1994 and 1997 he held various stage management, production and design positions with Washington National Opera and his hometown company Opera Theatre of Saint Louis. He received his B.A. in Theater Arts from Duke University in 1994.

Welcome to Operatoonity, Mr. Levy. 

The number of co-productions at Opera Phila has increased in the several years. Was this a strategic decision to move in this direction? The company wanted to strategically partner with other companies and look for other partnerships. Co-productions are partnerships. Opera Phila wanted to contribute new works and create new ways to present current work.

 

Can you contrast a co-production with a rental (or bus and truck show) for Operatoonity readers? There are a number of ways companies can produce opera. We can survey the landscape of productions and, for instance, simply rent a production to then populate with our orchestra, chorus, and regional director. Opera Phila is doing less and less of that. More frequently, we seek to enter into a consortium with another company, to be in from the ground floor.
There is s huge marketplace for presenters. Broadway in Philly is a presenter. Opera Phila is a producing organization. We help develop the production in part if not in whole. We gravitate towards new works that will allow us to have our imprint. We want to trust artists to do their work. There is never an instance when we don’t have input on what goes on our stage. If we are committed to a title, we’ll do it ourselves.

 

How do you select the titles that are ideal for new productions?  Dark Sisters was a co-commission with Gotham Chamber Opera, with whom we shared resources.  
Dark Sisters, a new chamber opera co-production by Opera Phila and Gotham Chamber Opera

Dark Sisters, a new chamber opera co-production by Opera Phila and Gotham Chamber Opera

Cold Mountain was a co-commission with Sante Fe Opera. By using commissioning partners, companies are able to create new works and get the music on the page.  We are continuing to create new works and search for partners.
Opera Phila's five-star production of "Cold Mountain"

Opera Phila’s five-star production of “Cold Mountain”

Turandot is not a new work, but it is not often produced compared to other Puccini operas. Could you outline the process for Turandot becoming a co-production? Turandot is a unique animal. David Devan goes back a long time with an idea to champion Turandot here. Some company has to do it first–initiate, build the show, manage the production. It was pitched in 2008 and then scrapped in 2008.  Eventually, it came around full circle, with Opera Philadelphia connecting with Minnesota Opera [and others]. Within that framework, this production had our imprint: our orchestra, our chorus, our casting, our people, and our conductor.

 

Have you seen the results that you anticipated from these increased co-productions measured by ticket sales, critical acclaim, enhanced artistic value, etc.?  We are seeing growth in a lot of areas. Turandot set a record in terms of single ticket sales revenue. It played to full houses. We learn a lot doing co-productions. They give creative teams a chance to revisit or bring nuance to the show, perhaps bring more to it the second time.

 

How do you find other companies who wish to co-produce? Perhaps this is easier than what one thinks in the digital age? Or is more contacts and networking? This is more about good old fashioned networking. We’ll travel to see something or meet the leadership team and talk about future projects. Opera American hosts an annual conference that serves our industry and is a good connection for networking. All the partners for Turandot came in through good old fashioned networking. As partners, we decided who the directing and design team should be as well as budgets and timelines for production.

 

What does the future hold for your company and co-productions? We hope to find more partners because the time is now. We love to reach out to artists to say let’s figure out a time and place for you to come here. We have basic artistic tenants–to energize artists and audiences, in that order. Christine Goerke wanted to sing Turandot. Missy Mazzoli (Breaking the Waves) wanted to compose.

 

And because this is an Operatoonity interview, Mr. Levy, how about some lightning round questions:
Favorite opera: Salome in St. Louis
Favorite composer: Strauss
Favorite Italian composter: Puccini
Favorite Puccini opera: Act III of La bohème; last act of Otello
Favorite aria: Trio from Der Rosenkavalier
* * *
 Next up for Opera Philadelphia? Rossini’s Tancredi featuring celebrated mezzo-soprano Stephanie Blythe.

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Haunting #TheCell Hits Philly for Nat’l Opera Week; Opera Upper West Not Phoning It In

the-cell

A special seasonal prediction from the all-knowing and all-seeing Mme. Operatoonity:

Listen to me, darlings. Your favorite haunts for Halloween weekend are going to be the Ruba Club in downtown Philly and the Kevin D. Marlo Little Theatre at Harcum College in Bryn Mawr because of a powerful double bill of immersive opera theatre, courtesy of Opera Upper West.

The New York based company announces three Philly-area performances of #TheCell, a contemporary pairing of Menotti’s The Telephone and Poulenc’s La voix humaine in celebration of National Opera Week.

Thematically, the work combines two amazingly complementary sides of dramatically different pieces featuring young lovers whose passions are obscured in the technology that binds them–the dreaded cell phone–in one clever and often haunting masterwork. Though both pieces revolve around a mobile device, I promise you that this talented and spirited young company is definitely not phoning it in.

The chamber opera runs Friday, October 28 at 8pm at the Ruba Club (416 Green Street, Philadelphia 19123) and on Saturday, October 29, and Sunday, October 30 at the Kevin D. Marlo Little Theatre at Harcum College (750 Montgomery Avenue, Bryn Mawr, PA 19010).

The production stars Rachel Sigman as Elle, Meghan Mae Curry as Lucy, and Matthew Lulofs as Ben and is directed by Alexandra Fees, artistic director of Opera Upper West, who promises that operagoers will never hear their phones ring the same again after experiencing this work.

Rachel Sigman sings Elle in Poulenc's La voix humaine

Rachel Sigman sings Elle in Poulenc’s La voix humaine

The New York Times has lauded the work as a “A captivating experience…almost voyeuristic,” and by New York Classical Review as “beautifully crafted, and troubling to watch.”

Meghan Mae Curry as Lucy and Matthew Lulofs as Ben in Menotti's The Telephone

Meghan Mae Curry as Lucy and Matthew Lulofs as
Ben in Menotti’s The Telephone

I stopped in on a run-through yesterday at Harcum College. #TheCell augurs to be perfect Halloween weekend fare because its powerful themes, shared in such an intimate setting, will haunt you–that’s the trick part. The performances will delight you–and that’s the treat.

Alexandra Fees took time out of her busy schedule to answer a few questions about #TheCell for Operatoonity readers.

How did you decide to combine these two pieces in a single bill?
The Telephone and La voix humaine feature strong female leads obsessively immersed in their phones to gain connections that have already been lost. The two operas of 30 minutes each are musically and dramatically opposite: The Telephone (Menotti) is a fresh and hilarious farce, revealing a snapshot of modern relationships as Ben tries to propose to Lucy who can’t stop texting. La voix humaine (Poulenc) is an exposed and sensual drama in which a woman is stuck in a murderous room on the phone with her ex-lover. Thematically, however, these two pieces intertwine as young lovers attempt to bypass the technology that isolates them.

As Isaac Mizrahi, honorary chairman of National Opera Week, said of social media: “The greatest parts of our civilization are being tested.” Our cell phones simultaneously connect and isolate us. Rachel Sigman, starring in La voix humaine, calls phones our “modern monsters”: Phones carry our secrets. Phones are with us at all times. Phones create intense anxiety at the thought of their death. Phones, as in #TheCell, create multiple levels of truth at any moment, separating the voice from the body — what is said from what is meant. A person can be anywhere and convince you they are somewhere else.

The compositions of Menotti and Poulenc, at one time dramatized, now seem eerily prophetic and on target in today’s world.  This work is especially appropriate at Halloween, where we come face-to-face with our monsters that are typically overlooked.

Where did this show premiere and when?
This show premiered this summer at Cafe Tallulah’s underground cocktail lounge for the inaugural NY Opera Fest hosted by NY Opera Alliance, a consortium of independent opera companies in New York.

How did you choose Philadelphia for a location for this production?
At the production’s conception, we were looking to give more opportunities to emerging singers, especially women, by performing the chamber opera with several different casts and observing how the show would change based upon the actors in each role.  The Philadelphia cast features Rachel Sigman as Elle, Meghan Mae Curry as Lucy, Matthew Lulofs as Ben, and is accompanied by Kat Bowman.

We are thrilled to be hosted by two great venues: Ruba Club (Oct 28) is a historic Russian Club in downtown Philadelphia with a vintage cabaret space and cocktail bar. At Friday night’s kickoff, we will have an after party with drinks, dancing and billiards! The Kevin D. Marlo Little Theatre (Oct 29-30) at Harcum College is an intimate space in the heart of Bryn Mawr. Holding a rich history of experimental theatre, the facility was recently restored in honor of Kevin D. Marlo, a passionate actor who was killed during the September 11th attack on the World Trade Center.

How was Opera Upper West founded?
Opera Upper West was founded by myself (Alexandra Fees) and Aine Hakamatsuka, two New York based singers, to explore immersive opera as authentic drama rooted in the human experience. The first season featured The Marriage of Figaro as a real-time wedding in which audience members were the guests, complete with champagne toast, wedding cake, and throwing of the bouquet.

Can you characterize Opera Upper West’s niche?
Opera Upper West draws people who are looking for unique entertainment and social experiences, who want to explore something new, and who are interested in experiencing music theatre (opera) for the first time. For those who are seasoned operaphiles, our events are an opportunity to breathe in the musical drama from up close.

What are your future plans for the company? Short-term? Long-term?
Opera Upper West invests in educating emerging singers in a new approach to acting in opera, beginning with understanding the human experience and applying that understanding to the roles we play onstage. In the future, we would love to set up sister-boutique companies throughout the United States so that Americans have the opportunity to feel ownership over the art form and can look forward to experiencing chamber opera theatre as a social event.

Is there a role for chamber opera (a more intimate opera experience) the way to attract more millennial operagoers?
Creating a social event within a chamber opera, especially one concerning technology and its ironic ability to break down lines of connection, is a riveting experience for anyone involved in these digital platforms. We guarantee that you will never hear your phone ring the same way again.

Anything else you want to tell me about this show or yourselves?
Tickets are $35 General Admission and $45 VIP Premium Seating and can be reserved at www.OperaUpperWest.Eventbrite.com. Cash Bar available at Ruba Club, and Halloween after-party included every night.

For more information, please contact
Alexandra Fees, Artistic Director
operaupperwest@gmail.com
(256) 682-9912

 

 

 

 

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Turandot a triumph for @OperaPhila

Operatoonity.com review: Turandot presented by Opera Philadelphia
Live performance: Sunday, October 2,  2016, 2:30 p.m.
The Academy of Music, Philadelphia, PA
Music: Giacomo Puccini
Libretto:  Giuseppe Adami and Renato Simoni
5.0 out of 5.0 stars

five stars

 

 

turandot-007

Princess Turandot (soprano Christine Goerke) has vowed never to marry unless a man of noble birth can solve her three riddles. | Photo by Kelly and Massa for Opera Philadelphia

Some say Turandot, Giacomo Puccini’s final opera, unfinished when he died, is his tour de force. Puccini lovers including a number of Operatoonity.com readers cite its adventurous musical qualities. Lush orchestration with exotic Asian elements, both instrumental and compositional. Not to mention opera’s most famous tenor aria “Nessun Dorma.”

Puccini’s magnum opus may prove to be Opera Philadelphia’s tour de force this season. Their Turandot was nothing short of fearless and peerless spectacle, boldly embracing both the mystery and vibrancy of Asian culture on every level–sight, sound, movement, concept, staging, lighting, costume. It was the most mystical, moving mainstage production I’ve witnessed in five years.

 Princess Turandot (soprano Christine Goerke) has vowed never to marry unless a man of noble birth can solve her three riddles. | Photos by Kelly and Massa for Opera Philadelphia

Princess Turandot (soprano Christine Goerke) has vowed never to marry unless a man of noble birth can solve her three riddles. | Photos by Kelly and Massa for Opera Philadelphia

However, not because of the title character, sung in this production by dramatic soprano Christine Goerke. The storyline builds up Turandot’s first entrance so unrelentingly and thoroughly that the audience’s anticipation of their first glimpse and hearing of the frosty princess is palpable. Perhaps only ghosts of opera greats Sutherland and Tebaldi could satisfy this pent-up expectation for an imperiously icy Turandot who sings in unforgettable form.

Princess Turandot (soprano Christine Goerke) addresses Calaf, who has announced he will attempt to solve her deadly riddles. | ohotos by Kelly and Massa for Opera Philadelphia

Princess Turandot (soprano Christine Goerke) addresses Calaf, who has announced he will attempt to solve her deadly riddles. | photos by Kelly and Massa for Opera Philadelphia

Goerke sung a serviceable Turandot but not a great one. She was stronger in her third act duets with Prince Calaf than in the second, when she first appears. She screeched a few high notes in “In questa reggia,” the aria during which she explains that the obscure riddles are intended to avenge her ancestress, killed when an evil warlord conquered her kingdom.

“An evening never recovers from a cracked high note. It is exactly like a bullfight. You are not allowed one mistake.”  — Luciano Pavarotti (1935-2007) 

Granted, this may be the most difficult soprano role Puccini ever wrote, requiring the talents of a legendary soprano like Birgit Nilsson. However, Goerke sang the role at the Met last season. If she is considered one of the best of her contemporaries, that is not the Goerke I heard that afternoon.

 Liù (soprano Joyce El-Khoury) explains how she has stuck by her master, Timur, because his son, Calaf, once smiled at her.

Liù (soprano Joyce El-Khoury) explains how she has stuck by her master, Timur, because his son, Calaf, once smiled at her.

By contrast, from the first note of her first aria, soprano Joyce El-Khoury sang a meltingly lovely Liù that compelled listeners to lean in to capture every note.  The show may be entitled Turandot, but in this production, El-Khoury’s Liù captured the devotion of the audience and the heart of this critic.

Calaf (tenor Marco Berti) declares he will put his life on the line to win Princess Turandot’s heart. Photos by Kelly and Massa for Opera Philadelphia

Calaf (tenor Marco Berti) declares he will put his life on the line to win Princess Turandot’s heart. Photos by Kelly and Massa for Opera Philadelphia

As The Prince with No Name, tenor Marco Berti, faces a daunting professional challenge because “Nessun Dorma” is all but attached to the ubiquitous Pavarotti version. Berti’s take was beautiful and powerful, and the audience lauded him for his effort.  His overall performance was sturdy, if a little wooden, especially when Liù pours out her secret love for him. Based on his performance, the supertitle of his reaction to her heartfelt, heartbreaking confession should have been, “Meh.”

The exiled king Timur (bass Morris Robinson) discovers his slave girl, Liù, has sacrified herself for love. | photos by Kelly and Massa for Opera Philadelphia

The exiled king Timur (bass Morris Robinson) discovers his slave girl, Liù, has sacrified herself for love. | photos by Kelly and Massa for Opera Philadelphia

Bass Morris Robinson’s performance as King Timur was pitch perfect in every way. His voice was in excellent form and his sympathetic characterization of an exiled, broken ruler authentically and deeply felt.

While the opera company did not furnish a production photo of Ping, Pong, and Pang to share with Operatoonity.com readers, much to my chagrin, this reviewer would be remiss not to fete them as a highlight of this production. Daniel Belcher as Ping, Joseph Gaines as Pong, and Julius Ahn as Pang were frighteningly entertaining, at times barbaric, and also, in one shining number, highly sympathetic, as they recounted their previously happy lives in peaceful hometowns before being summoned into service for the Princess of Death.

Now that’s range!

Perhaps Opera Phila didn’t want to fuel any more complaints of ethnic stereotyping by providing pictorial evidence of these portrayals. However, just like the fictional kingdom in which they serve, these characters were a brilliant mash-up of more world cultures than a Kia Soul commercial and no genuine cause for concern–at least in this production.

The entire opera chorus from the littlest priest to all the villagers living under Turandot’s tyranny (the show’s Greek chorus) to the lithest dancer deserves kudos. So does conductor Corrado Rovaris and his versatile opera orchestra, whether playing gongs, indigenous instruments, or Western ones merely tuned to sound like they are native to the Far East.

Riddle me this, Operatoonity.com. If the performances weren’t five stars with every turn (except for El-Koury and Robinson), why the five-star rating? The direction, the orchestra, the spectacle, the high concept were out of this world.

Director and Choreographer Renaud Doucet staged an arresting, layered production that must be experienced. The stunning lighting, staging, and choreography of this show have already premiered at companies with whom Opera Philadelphia is co-producing this show including Minnesota Opera, Cincinnati Opera, Pittsburgh Opera, Utah Opera, and Seattle Opera, but (with any luck) not all.

A singularly original and richly satisfying opera. That’s what Opera Phila brought to the City of Brotherly Love. Turandot was a triumph. Simply put, Turandot is Opera Philadelphia.

 

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