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Shimmering ‘La bohème’ Opens Glimmerglass Festival

Operatoonity.com review: La bohème presented by Glimmerglass Festival
Live performance: Friday, July 8, 2016, 7:30 p.m.
Alice Busch Opera Theater
Music: Giacomo Puccini
Libretto: Luigi Illica & Giuseppe Giacosa
4.5 out of 5.0 stars

4.5strslg

The Glimmerglass Festival production of Puccini's "La bohème." Photo: Karli Cadel/The Glimmerglass Festival

The Glimmerglass Festival production of Puccini’s “La bohème.” Photo: Karli Cadel/The Glimmerglass Festival

Glimmerglass Festival mounted a memorable tribute to its founding with a new production of La bohème, the first show the company ever presented in 1975. Those visionaries who believed summertime opera performed in repertory could somehow matter in a New York town only known for baseball would have and most likely adored this season’s opening production.

Filled with spectacle, informed by careful attention to the real Parisian scene during La Belle Époque, the 2016 show succeeded on many levels—for those who desired to wrap themselves in Puccini’s beloved melodies to those with expectations for a beauty and symmetry that Puccini himself envisioned to those seeking abandon in the doomed relationship between destitute young lovers.

Raquel González as Mimì and Michael Brandenburg as Rodolfo in The Glimmerglass Festival's production of Puccini's "La bohème." Photo: Karli Cadel/The Glimmerglass Festival

Michael Brandenburg as Rodolfo and Raquel González as Mimì in The Glimmerglass Festival’s production of Puccini’s “La bohème.” Photo: Karli Cadel/The Glimmerglass Festival

Because this production was set in period, it is easier for the audience to accept the show’s many provincialities. Mimi is a seamstress who can only advance herself by foregoing true love and sleeping with a rich man. Musetta and the Bohemians take full advantage of an old coot’s weakness for a slender ankle and stick him with the check. Marcello and Rodolfo both bemoan the fact that women are somehow born to flirt.

Dale Travis as Alcindoro and Vanessa Becerra as Musetta in The Glimmerglass Festival's production of Puccini's "La bohème." Photo: Karli Cadel/The Glimmerglass Festival

Dale Travis as Alcindoro and Vanessa Becerra as Musetta in The Glimmerglass Festival’s production of Puccini’s “La bohème.” Photo: Karli Cadel/The Glimmerglass Festival

That being said, Director E. Loren Meeker has taken great care to render a La bohème that both suited the venue and that subtly acknowledged some of the most successful stagings of the show. Her vision for the opera invoked a transcendent experience while paying homage to the pageantry of the well-known Zeffirelli version currently in the Met’s classic repertoire.

The Latin Quarter on Christmas Eve | Photo: Karli Cadel/The Glimmerglass Festival

The Latin Quarter on Christmas Eve | Photo: Karli Cadel/The Glimmerglass Festival

While La bohème happens to be my least favorite of Puccini’s operas, Meeker and her production team elevated the show to an unmatched artistic level, and all deserve a hearty bravi. All operatic elements worked in tandem, most effectively during the Christmas Eve festival. The scene opened with a choral celebration, trumpeting the Bohemians arrival in the Latin quarter. The chorus under the skillful direction of Choral Master David Moody and Children’s Chorus Master Tracy Allen together with clever costumes by Erik Teague and choreography by Eric Sean Fogel transported us from a dingy garret to Gay Paree.

David Walton as Parpignol in The Glimmerglass Festival production of Puccini's "La bohème." Photo: Karli Cadel/The Glimmerglass Festival

David Walton as Parpignol in The Glimmerglass Festival production of Puccini’s “La bohème.” Photo: Karli Cadel/The Glimmerglass Festival

As the tragic heroine Mimi, soprano Raquel González was ideally suited to the role. She had a shimmering, youthful voice that never lost its sweet tone, even while filling the hall during her first aria “Sì, mi chiamano Mimì” when she introduces herself to Rodolfo in his grimy flat. It is important that the audience believe in Mimi as a modest young seamstress with inherent goodness or the role can come off cloying and insincere. She was such a believable Mimi, one sensed the despair Rodolfo must feel having lost her twice.

 "Sì, mi chiamano Mimì"

Raquel González sings “Sì, mi chiamano Mimì” in Act I.

From his very first note Rodolfo, tenor Michael Brandenburg exhibited a spinto quality with a brightness reminding me of Juan Diego Flórez. Brandenburg’s tenor needed to cut through the orchestra which occasionally overpowered the singers, a problem I never encountered at Glimmerglass in the last several years and hope I don’t encounter again. (One does come to hear the operatic voices first and foremost, Maestro Colaneri.) While González’s appearance affected a perfect Mimi, because of his scruffy beard and lackluster garb, Brandenburg looked more like Motel the Tailor than that of the romantic lead Mimi falls for instantly. He did a serviceable job as Rodolfo, and I would be intrigued to see him in a character role.

Michael Brandenburg as Rodolfo

Michael Brandenburg as Rodolfo

Rodolfo and his flat mates Marcello, Colline, and Schaunard en scene were another highlight of this production. Though there hijinks were somewhat corny, their vocals soared. Props to all the Bohemians for the lift their vocal and physical energies lent the show. Young Artist Brian Vu was so energetic and gifted his every appearance telegraphed, “I’d like a starring role, please.” A special nod to Hunter Enoch as Marcello, whose baritone could be rich and bright and dark and bristling as the role demanded.

L to R: Michael Brandenburg as Rodolfo, Hunter Enoch as Marcello, Brian Vu as Schaunard and Ryhs Lloyd Talbot as Colline in The Glimmerglass Festival production of Puccini's "La bohème." Photo: Karli Cadel/The Glimmerglass Festival

L to R: Michael Brandenburg as Rodolfo, Hunter Enoch as Marcello, Brian Vu as Schaunard and Ryhs Lloyd Talbot as Colline in The Glimmerglass Festival production of Puccini’s “La bohème.” Photo: Karli Cadel/The Glimmerglass Festival

Young Artist Vanessa Becerra rendered my favorite Musetta ever. Not merely a scene-stealing minx with a glorious soprano voice, Becerra was entirely believable at the end of the production, giving comfort to her dying friend. Brava, Ms. Becerra. You were delightful.

Vanessa Becerra as Musetta in The Glimmerglass Festival production of Puccini's "La bohème." Photo: Karli Cadel/The Glimmerglass Festival

Vanessa Becerra as Musetta in The Glimmerglass Festival production of Puccini’s “La bohème.” Photo: Karli Cadel/The Glimmerglass Festival

Though the Bohemians’ clothes are threadbare and the opera is done too frequently, the cast and crew of Glimmerglass’s 2016 La bohème have injected a freshness and a genuine affection into their version. It was as welcome and sweet as a frosty mug of birch beer on a warm summer’s eve.

La bohème runs through Saturday, August 27 in repertory with Sweeney Todd, The Thieving Magpie, and The Crucible. More information is available here.

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Opera Phila’s ‘Elixir’: Just What the Doctor Ordered

Operatoonity.com review: The Elixir of Love presented by Opera Philadelphia
Composer: Gaetano Donizetti with text by Felice Romani
Live performance: Sunday, May 8, 2016
The Academy of Music, Philadelphia
4-stars

 

Opera Philadelphia closed its mainstage season with the potboiler The Elixir of Love. The show was rollocking good fun, and, a lot like the last professional Elixir I saw at New York City Opera in 2009, the production ushered a rising star into the opera firmament. In 2009, that star of the NYCO show was David Lomeli as the lovestruck Nemorino. In Opera Phila’s version, the luminous soprano Sarah Shafer, a Curtis Institute of Music graduate from State College, Pennsylvania, ensconced herself as a talent to remember:

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Sarah Shafer as the petulant, flirty Adina was a standout in Opera Phila’s springtime show. Photos courtesy of Opera Philadelphia

In this version, Adina was a country schoolteacher in the 1940s after WWII, who opens the show by telling pupils and villagers all about Isolde falling for Tristan after he drinks the magic potion in the classic myth. Had she been asked to portray Adina as a fishwife, GI Jane, or a blood-soaked zombie, nothing could have diminished her impact on this production. The audience hung on Shafer’s every note, from her first appearance in Act I until her Act II aria “Prendi per me sei libero…,” a glorious version, easily sustaining the legato passages, and effortlessly reaching her top notes with the clarity and sweetness of a silver bell. She is a preeminent lyric soprano and poised for even greater roles and stages.

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Tenor Dimitris Pittas sang the role of Nemorino

As the lovestruck Nemorino, New York tenor Dimitris Pittas showed off his stellar comic timing. He was a lovable, empathetic schlub for most of the show, which is most of what is required of the role. According to a press release dated April 21, Pittas stepped into the role only a week before the show opened because the previous tenor was stricken ill. Carrying the lead role on such short notice deserves recognition. However, this reviewer can only critique the show she saw. Pittas was handed the aria of a lifetime in “Una Furtiva Lagrima,” which was a fine vocal showcase for him but not the showstopper I had hoped for. Pittas absolutely did a serviceable job and after his noteable performance in Opera Phila’s Don Carlo, I hope to see him again soon, perhaps in the 2016-17 season.

Baritone Craig Verm as Belcore

Baritone Craig Verm as Belcore

If Donizetti handed Nemorino the aria of a lifetime, then he bestows the comic role of a lifetime on the opera singer who portrays Sergeant Belcore. Belcore is an over-the-top character. To perform the role with too much swagger is probably impossible. While baritone Craig Verm was amusing and well caricatured, I was *selfishly* hoping for a bigger overall performance to contrast with Nemorino’s ingrained schlubiness, like Brutus to Wimpy. Verm sang the role well and cut a handsome figure. Coming into the show, I came down with a bit of a fever, however, a fever for some beloved Elixirs of years gone by. The only prescription would have been more swagger from Belcore.

Kevin Burdette as Doctor Dulcamara

Kevin Burdette as Doctor Dulcamara

One of my favorite Phila Opera regulars is Kevin Burdette. I have seen him excel in a range of parts. He can be menacing (Dark Sisters) and he can also be knee-slappingly funny (The Barber of Seville). Lately he has been handed several funnyman roles in Opera Phila productions and never disappoints. His characterization while singing contrapuntal patter passages was praiseworthy. Burdette won’t sacrifice one bit of his character to achieve operatic heights and this reviewer deeply appreciates his total immersion into character.

The controlling concept–an Italian countryside tale post-WWII–lent itself to some clever set devices, including the quaint billboard on which numerous images revolved. Kudos to all the behind-the-scenes talent, all of whom were Opera Phila newcomers, who made this a successful show–Director Stephen Lawless, Set Designer & Costumer Ashley Martin-Davis, and Lighting Designer Pat Collins.

In the background is the colorful period billboard promoting olive oil

In the background is the colorful, period billboard promoting olive oil

It seems like the orchestra and chorus always get mentioned in the last portion of my reviews. In the scoring of Elixir, Donizetti himself made his orchestra serve the singers rather than the other way around. In the production notes, conductor Corrado Rovaris says he sought to draw out all the emotional colors in this opera, including melancholy, which he readily accomplished. I have come to appreciate that Rovaris can conduct anything with aplomb and surrounds himself with talented, versatile musicians, coaxing many diverse sounds and styles from them, time and time again.

Overall, this was another winning production from a winning company featuring some new backstage blood and capitalizing on the talents of opera performers in Opera Phila’s growing stable of first-rate performers. I look forward to Opera Phila’s enterprising 2016-17 season, and hope to have the privilege to bring you more Operatoonity.com reviews next year.

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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

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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.

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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.

 

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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.

 

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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.

 

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