WORTH A SECOND SHOT

Casey Candebat as Max in Heartbeat Opera's  Der Freischütz (photo by Andrew Boyle)

We cannot recall ever returning to an opera during the same run to hear a different cast. This "first" for us came about because there was so much going on musically, dramatically, and scenically that we couldn't grasp it all in one visit. In all honesty, if we weren't completely booked we would see it again. And again.

To get the singing on the table right away, the "Red" cast was just as fine as the "Green" cast we heard a few days ago. Tenor Casey Candebat employed his fine instrument and persuasive acting to create a sympathetic "underdog" whom we wanted to see succeed. As his dangerous "friend" Kaspar, baritone Daniel Klein was chilling.

Soprano Katherine Whyte evoked similar sympathy as the anxious bride-to-be Agathe, singing with full and luxurious tone. As her cousin Ännchen, Nicole Haslett delighted with her high-lying tone and cheerful personality. In fact, their duet was one of the highlights of the evening with the two personality styles contrasting as much as those of Tatiana and Olga in Eugene Onegin.

The other singers were as mentioned in our prior review of the "Green" cast, contributing their superb characterological interpretations and fine singing. 

We came to opera through our interest in theater and therefore are always paying attention to theatrical values. The direction by Louisa Proske and Chloe Treat could not have been more effective. There were many small touches that we became aware of by taking a new vantage point on the opposite side of the theater. 

The overall situation was that of "theater in the square" with the entire black box theater utilized to create an immersive situation, making us feel somehow complicit in the story. We forgot our liberal tendencies and felt like a member of this Southern small town, recalling our youth in North Florida where there were barbecue joints and honky-tonk roadhouses and what we called "cracker houses" similar to the set created by Sara Brown, who must be some kind of genius.

She created a building that served as a roadhouse, but which converted, by the raising of shades, into one of those "cracker" houses. We could peer inside and see a woman sewing, perhaps sewing Agathe's wedding veil. We could see the religious statues and cross, reminding us of what it's like to be surrounded by fundamentalists with their superstitions. We could see the bridesmaids preparing for the wedding. We could see Agathe and Ännchen sitting on the porch, as they do in the South. We could feel the tension of a community that values their guns and hunting; we felt the toxic masculinity of the gun culture that makes life difficult for a man who can't compete on that level.

We had a better view of Samiel (Butoh dancer azumi O E) lurking in the shadows, emerging from her identity as a member of the community (the seamstress), removing the mask and revealing her evil origins and later rolling under the house to hide. Does evil lurk everywhere?

We were nearly shaking in our seat during the Wolf Canyon scene. Oliver Wason's lighting contributed greatly to the eerie effects of the smoke and azumi's dancing (as Samiel) heightened the terror. The musical contributions of Daniel Schlosberg were amplified by the electronic alterations wrought by William Gardiner. It was far more effective than any horror movie we have ever seen.

Our position gave us a better view of the chamber orchestra and the versatility of the musicians in realizing Mr. Schlosberg's reduction of the orchestral score. If we haven't previously made it sufficiently clear, the music is astonishing in its variety and complexity. There was gentle folk music for the female chorus with each bridesmaid singing a different verse. Claire Leyden's verse included the unrolling of her hair curlers in rhythm with her charming singing. This was just one of countless little moments that struck us as original and memorable.

What also became visible from our new vantage point was that one of the figures appearing in Max's terrifying visions in Wolf Canyon was his own "shadow". If, dear reader, you are wondering whether we figured out the ending, we still have not. Max's "shadow" (the intense Eric Delagrange) reappears and seems to both confront the community with their collective guilt and also offer clemency and the end of gun culture; but he carried a machine gun and seemed brutal. We will need to think about this some more.

In any case, what you experience depends upon where you sit. Perhaps if you sat higher up near the positions taken by the Sheriff and the Governor, you would have had a different experience. It is quite revolutionary for the action to take place in the midst of the audience!

Good storytelling doesn't shrink from moralizing. Bullying leads to desperation and desperation leaves people open to manipulation by evil forces. Punishment can be leavened with mercy and forgiveness.

There are four more performances and hopefully a few tickets left. Please don't miss this revolutionary take on a rarely seen opera!

© meche kroop

afterWARds

Maestro David Moody, Kirsten Scott, Renate Rohlfing, Boya Wei, Marco Cammarota, and Katherine Whyte

We believe a work of art should speak for itself and require no explanation from the playwright, painter, director, choreographer, or composer.  However, in the case of Bare Opera's reduction/expansion/ psychological illumination/distillation of Mozart's 1780 opera seria Idomeneo, we would like to quote Director David Paul, whose eloquence we could not equal.

"afterWARds is an opera about the emotional battles that continue to rage after war is long over.  It's an opera about displaced refugees, and the lingering post-traumatic effects of war. But most of all, it's an opera about love, healing, and the resilience of the human spirit."

Until last night, we had sat through this opera several times--three plus hours of gorgeous writing for massive choruses, elaborate late 18th c. costuming, gods and monsters and shipwrecks--without ever being emotionally moved. What Mr. Paul has done is to strip away everything except the four main characters, to focus on their psychological struggles. The music by Mozart and libretto by Giambattista Varesco remained intact. Like us, the characters struggle to find love and peace in a world gone mad with the carnage of war.

War is often waged for the most trivial of reasons. King Menelaus of Greece wanted his wife back after Paris, Prince of Troy, "abducted" her (we know not whether or not she went willingly). Menelaus enlisted the services of his brother Agamemnon and Agamemnon enlisted his ally Idomeneo, King of Crete. We all know how Agamemnon and his family fared--badly! And his daughter Electra appears in this opera enduring her own grief--unrequited love for Prince Idamante, Idomeneo's son.

During the Prologue we were treated to the piano reduction performed by Renate Rohlfing whilst films of war and shipwrecks were projected (Projection Design by Caite Hevner) along with a narrative of the backstory. Princess Ilia of Troy (King Priam's daughter and Paris' sister, now one of the spoils of war) was rescued from drowning by none other than Prince Idamante.

Poor Ilia is torn between her growing love for Idamante and her hatred for the Greeks who slew her entire family. How can love invade the territory of revenge? Soprano Boya Wei used her elegant instrument well in conveying the emotional ambivalence which tormented her. She eventually finds peace in accepting her enemy as a substitute father.

The role of Idamante was performed by mezzo-soprano Kirsten Scott in travesti ; this character has a different kind of emotional roller coaster to ride and she rode it so intensely that we had goosebumps.  Her character is secretly in love with Ilia but is dealing with a far larger issue. The father he loves whom he hasn't seen in some years had sworn to sacrifice him and, to protect his son from this fate, tries to send him away with a ruse of escorting Elettra back to Argos.

Elettra, powerfully sung by soprano Katherine Whyte, is living in despair due to the loss of her family (recall that her brother Orestes murdered their faithless mother who was betraying her husband Agamemnon with his brother Aegisthus) and also due to her unrequited longing for Idamante and jealousy of Ilia.

Her rage aria is chilling, with wild flights of coloratura, but she also has moments of tenderness and beauty when she begs Idamante for his love.  And that's her roller coaster.

In the title role we heard tenor Marco Cammarota who sang with a rich full tone and successfully conveyed the despair a father must feel in denying his own son and the horror of perceiving the need to sacrifice this dear son. Mr. Cammarota evinced great skill in his dynamics. He returns home with joy, but also guilt over all the deaths caused by the war.

The ending was a bit different than that to which we are accustomed but it worked. A peaceful resolution is found with Idamante and Ilia taking over the throne of Crete.  Poor Elettra is left with her demons but that's another opera, written by Richard Strauss.  

Come to think of it Mozart's masterpiece has been tinkered with before, and by that very composer! In 1931, whilst Munich commissioned Ermanno Wolf-Ferarri to revise the opera, the Vienna State Opera commissioned Richard Strauss who did a complete revision, employing a German libretto. We have heard neither revision.

We were pleased with the vocal performances overall but found several moments that were outstanding. The Act III quartet did full justice to Mozart's artistry with voices perfectly balanced. The love duet between Ilia and Idamante allowed the voices of Ms. Wei and Ms. Scott to melt together. Ms. Whyte's expression of rage was stunning as was her despair at the end in "D'Oreste, d'Ajace ho in seno i tormenti".  No happy ending for her!

"Vedrommi intorno" was given a stirring performance by Mr. Cammarota with the aforementioned attention to dynamics and a beautiful resonance.

It was particularly rewarding to witness the artistic development of Ms. Wei and Ms. Scott whom we began reviewing about five years ago when they were students at Mannes. Ms. Scott has appeared frequently in our reviews but the only time we saw the two together was in Nozze di Figaro, in which Ms. Wei sang the role of Susanna and Ms. Scott performed the role of Cherubino.

Once more, Bare Opera has succeeded in their mission to provide an intimate experience of opera-- minus the pomp and circumstance--that is very 21st c., filling an important niche on Planet Opera. There are many dwellings on Planet Opera and there is room for all, from the palatial mansion of the Metropolitan Opera to the intimate dwellings of flexible companies like Bare Opera.  We are all smiles thinking of the nomads of Central Asia who pull up their yurts and move on. Bare Opera is on the move.  We have reviewed every one of their events and have no intention of missing the next.

More on that later but it has something to do with a barber turned personal valet.

(c) meche kroop