MUSIC 10 --LOOKS 2

 Isabel Leonard and Michael Fabiano (photo by Curtis Brown for Santa Fe Opera)

Where are we? We are sitting in the Santa Fe Opera's lovely theater, wishing we were being transported to Seville in the 19th c., the world created by Georges Bizet and librettists Henri Meilhac and Ludovic Halévy (originally created by novelist Prosper Mérimée)--a world of gypsies, smugglers, and bull fights. But no, that is not going to happen. We can't tell where we are from a confusing set and ugly costumes. We are in the world of a misguided director who wants to tell a different story.  Of our beloved Carmen, only the "romantic" obsession remains and the good girl/bad girl dichotomy.

We were inspired to do a search of our reviews of every Carmen we have ever written about.  And there are dozens. Significantly, the last Carmen done by Santa Fe Opera was similarly egregious. The most affecting one we ever saw was performed by a small (now defunct) company in New York City. The most original one was presented by a psychoanalytic colleague whose concept it was to be interviewing Don Jose in prison, after the stabbing. His character was explored by means of flashbacks to various scenes of the opera.  It was original and illuminating. If you are going to have a concept, it better be cohesive and show us something new about the characters. This production was about as interesting and as believable as Lucia in overalls in the rustbelt of the United States, as presented by the Metropolitan Opera.

If one closed ones eyes, which we frequently needed to do, one was treated to some superb singing and a glorious reading of the score by Maestro Harry Bicket. The music moved right along with big dramatic orchestrations, as in the overture, alternating with gentle pianissimo lyricism, as in the introduction to Act III.

Poor mezzo-soprano Isabel Leonard, drably dressed in jeans and dun colored top gave her all to make sense of the character. She possesses a magnificent instrument which she uses skillfully throughout the entire range. She clearly worked hard to fulfill the director's requirements and to tell us something new about the eponymous heroine. In the 19th c. there was something shocking and fascinating about a woman who marched to her own tune. Set in contemporary times, it's just old hat.

Tenor Michael Fabiano sounded just fine as Don Jose but was perhaps directed to be particularly awkward with his body movements, leading us to speculate that Don Jose had some rare ailment that contributed to his unbalanced mental state.  His violence did not evolve gradually but was present right from his ungracious shoving of Micaëla as she tried to give him a kiss from his mother. 

Soprano Sylvia D'Eramo scored vocally with her Act III aria. Dressed in overalls, backpack, and Keds, she looked nothing like an innocent country girl although she did her best to act the part, contrasting with Ms. Leonard's worldly wise mien.

Four apprentices delighted us with their performances, seemingly removed from the intensity of the main story. Soprano Magdalena Kużma's Frasquita and mezzo-soprano Kathleen Felty's Mercédès made a fine pair and we enjoyed their card reading duet. Tenor Anthony Léon's Remendado  and baritone Luke Sutliff's Dancaire brought Act II to vivid life. The quintet with Ms. Leonard resisting their blandishments was one of the vocal highlights of the evening.

Bass-baritone Michael Sumuel was put in the ambiguous position of portraying Escamillo as a bullfighter in authentic dress, and also some kind of entertainer in a saloon pretending to be a bullfighter. Nonetheless, we enjoyed his singing of the Toreador Song.

Bass-baritone David Crawford was effective as Zuniga; Apprentice David Lekeith Drone sang the role of Morales; Omen Thomas Sade took the non-singing role of the famed Lilias Pastia.

A terpsichoreally challenged female child was onstage so much, for no apparent reason, that we were not surprised at the muttering of the woman sitting next to me, muttering we choose not to repeat. These constant appearances were most resented when they occurred during the big arias. How unforgivably distracting! Perhaps she is the offspring of a big donor. Why was she holding her ears during the overture? Why was she prancing around stage making odd faux flamenco moves with her arms and swishing her skirt? Whatever the director had in mind was lost on every audience member we spoke with or overheard in the ladies room during intermission.

French director Mariame Clément obviously comes from the European régie theatre school.  Silly us to think that opera is about singing that enhances logical story telling! Whatever happened to authenticity and honoring the intentions of the composer and librettist? We would beg directors to stop trashing the classics. Modern touches added to comedies are just misdemeanors but to ruin a tragedy is a felony.

Julia Hansen's set and costumes for Act I were not awful.  Just a bunch of soldiers on one side and a fenced in area on the other side, enclosing a yard for the cigarette factory workers to take their breaks. But things got progressively worse.  In Act II, there was something like a nightclub with what appeared to be a drag show onstage; but then appeared to be Frasquita and Mercedes in hideous garish costumes. And another smaller stage was wheeled on with Escamillo in full toreador costume singing his big aria.

Act IV was completely incomprehensible.  At first, the chorus of onlookers were waving flags behind a wooden barrier. So, it's a bullfight and we had no problem using our imagination to recreate the parade of chulos, picadors, and toreros that were being sung about.  But then the set became a garish amusement park with a ticket office with a sign reading "CAJA"--Spanish for cashier or box office--and the only sign that the action is supposed to be taking place in Spain. A lone merry-go-round horse witnessed the violence perpetrated by Don Jose on the complacent but defiant Carmen.

Not only were the characterizations impossible to fathom but the stage business frequently belied the text. Please don't sing about a rope and then produce handcuffs to restrain Carmen.

We could go on and on about the directorial  misjudgment but we would prefer to use the space to once again applaud the excellent chorus of apprentices, directed by Susanne Sheston.  The chorus has been a winning element throughout the season.

© meche kroop

APPRENTICE SCENES AT SANTA FE OPERA

Nicholas Newton, Amanda Lynn Bottoms, Lucy Evans, Ben Brady, Magdalena Kuzma, and Justin Burgess in a scene from L'Italiana in Algeri

What a delightful evening we spent watching and listening as this year's crop of apprentices showed their stuff.  And what stuff they showed! Nothing thrills us more than discovering new major talents and witnessing the ascendancy of their stardom. Last night, all of the apprentices sounded great but a few stood out, perhaps because they were given the right role to suit their unique gifts.

We chose the above photo of a scene from Rossini's L'Italiana in Algeri because of its superlative ensemble work. Of course, Rossini is known not only for his comedic genius but also for his ability to combine several vocal lines into a tapestry of sound, almost always composed to bring an act to a rollicking climax. If anyone starts complaining that this opera is not politically correct, we will gladly stare you down!

In this case, marvelous mezzo Amanda Lynn Bottoms created a character with wondrous spunk; her Isabella used all her ingenuity to beguile bass-baritone Ben Brady's Mustafa. No one could doubt that she would secure the release of her lover Lindoro (tenor Andrew Turner) whom Mustafa had convinced to marry his cast-off wife Elvira (soprano Magdalena Kuzma). Rounding out the well-matched ensemble were mezzo-soprano Lucy Evans as the servant Zulma, bass-baritone Nicholas Newton as Taddeo, and baritone Justin Burgess as Haly.  James Robinson's astute direction created sense out of all the confusion.

Another charming ensemble piece, directed by Cristal Manich, was a scene from Strauss' Ariadne auf Naxos. We cannot recall enjoying this scene as much as we did last night. Soprano Amber Norelai created a flirtatious Zerbinetta who teases all the members of her troupe (tenors Thomas Cilluffo and Jordan Loyd, and bass-baritone Peter Barber) before running off with the patiently waiting Harlekin of baritone Luke Sutliff. Once again we marveled at the superb vocalism and acting skills of the entire cast.

On a more serious note, we were impressed by the ensemble work of the cast of Verdi's Don Carlos as they performed, in the original French, the scene in which Elisabeth de Valois (soprano Murrella Parton) confronts her husband Phillippe II (bass Griffen Hogan Tracy) about her missing jewel box. He in turn confronts her about his suspicions of her adultery.  Never mind that he has been committing adultery with the Princess Eboli whose entrance on the scene leads to her guilty confession of betraying her beloved Queen out of jealousy. And here, we get to the meat of the scene in which the Princess sings the famous aria "O don fatale". It was exciting to hear these fine artists being given the rare opportunity to tackle Verdi and, under the direction of Kathleen Clawson, to succeed so admirably. Mezzo-soprano Sarah Saturnino's Eboli was heart wrenching as she summoned a panoply of emotions and accepted responsibility for her misdeed. This is one voice we will definitely watch for future greatness!

Another serious ensemble piece was equally filled with confrontation. Donizetti's Lucia di Lammermoor is one of our favorite operas, filled with glorious bel canto singing, luscious melodies, and a gripping story. No, we did not get Lucia's mad scene; rather we saw a scene of confrontations. Poor Lucia (Ms. Kuzma) has been forced by her desperate brother Enrico (baritone Sejin Park) to sign a marriage contract with the politically useful Arturo Bucklaw (tenor Tianchi Zhang). Her beloved Edgardo of Ravenswood (tenor Kevin Punnackal) arrives on the scene and confronts the victimized Lucia. Enrico challenges Edgardo and only the intervention of the family minister Raimondo (Mr. Newton) forestalls bloodshed. But we know that no one gets out alive. Lucia will murder Arturo and die of madness, Enrico's fate is not a good one, nor is Edgardo's. Everyone handled the bel canto lines with grace and accuracy. Ken Cazan's direction brought everything together.

Ken Cazan's direction of the scene from Mozart's Cosi fan tutte was somewhat less successful in that it tried too hard and wound up appearing excessive to the point of losing the humor. We thought it was a mistake to set the scene in what appeared to be the 1950's, as remote to us as da Ponte's time. (What's with the recent popularity of that unattractive period????)  Nonetheless, we enjoyed the singing of soprano Emily Richter as Fiordiligi, mezzo Sophia Maekawa as Dorabella, tenor Anthony León as Ferrando, baritone Kyle Miller as Guglielmo, Mr. Brady as Don Alfonso, and the Despina of soprano Amanda Olea. Conductor Robert Tweten brought the voices together into a satisfying whole.

Regular readers will recall our fondness for zarzuela and will understand how pleased we were to see a scene from Torroba's Luisa Fernanda on last night's program.The selection was brief but affecting with Ms. Oleo portraying the eponymous heroine and Mr. León filling the role of Javier Moreno. What gorgeous vocal lines! And Spanish sings so beautifully!

Another duet was staged by Ms. Clawson--the confrontation between the eponymous heroine of Puccini's Suor Angelica and her cold aristocratic aunt, the Principessa, in a stunning performance by contralto Lauren Decker, another artist marked for stardom by virtue of the unique timbre of her voice and intense delivery. We couldn't help thinking about the mores of Puccini's time and the rigid morality of Italy's declining aristocracy. Poor Angelica (affecting soprano Ardeen Pierre), having given birth without benefit of marriage, had been sent to a convent, presumably to lessen the impact of social opprobrium. For years she has longed for contact with her family.  Finally her aunt visits but only to get her to sign away her inheritance. The ultimate insult to her mental state was learning that the son she bore had died. Ms. Pierre sang movingly and was as convincing as a victim as Ms. Decker was as a rigid unfeeling tyrant.

The only contemporary scene on the program left us as cold as the Principessa. Next to all the passion and confrontation of 18th and 19th c. opera (and even into the 20th c.) Gregory Spears' Fellow Traveler lacked the intensity and melodic interest of the other seven scenes on the program. Nonetheless, the performances of Mr. Sutliff as State Department official Hawkins Fuller and tenor Jonah Hoskins as a milk-drinking young reporter were believable and vocally excellent. We just want to hear these excellent voices performing something less "conversational".

In sum, it was a stellar evening with plenty of variety. We enjoyed the piano accompaniment and never missed the orchestra. We are sure the young artists enjoyed performing with professional staging, direction, and costuming--all of which were of the highest order.

© meche kroop