Maestro Patrick Quigley conducting Opera Lafayette Orchestra's world premiere performance of
Edmond Dédé's Morgiane, ou, Le Sultan d'Ispahan
Singers L to R: Joshua Conyers, Mary Elizabeth Williams, Chauncey Packer, Nicole Cabell,
Kenneth Kellogg, and Jonathan Woody
(photo by Jennifer Packard, Courtesy of Opera Lafayette)
After such a satisfying evening, we scarcely know where to begin. In an era when the field of opera is getting bogged down in prosy unmusical polemics, a few companies stand out by mining the past for undiscovered treasures. Teatro Nuovo brings to life forgotten gems from the Bel Canto period, whereas Opera Lafayette brings to the table a scholarly approach to rarely heard operas of the 17th, 18th and 19th c. The D.C. company's annual visits to New York City bring us education with our entertainment. Both companies achieve sold out status, proving that opera is not a dying art form.
There is room for contemporary opera just as there is for modern art. They just fail to provide nourishment to our classical eyes and ears. We would happily attend Nozze di Figaro, La Traviata, and La Bohême several times a year (and we have). Just the same, to be introduced to a work from the past that has lain forgotten gives us a thrill like no other.
A great deal of scholarship went into the recreation of Morgiane, ou, Le Sultan d'Ispahan and Opera Lafayette partnered with OperaCréole to bring this work to the stage, just in time for Black History Month. The composer Edmond Dédé was a Free Man of Color whose lifespan occupied the greater part of the 19th century. The opera is probably the first four-act opera by a United States born composer of African descent. Born in New Orleans, he established his reputation in France in the second half of the 19th century and his rich melodies reveal an exposure to various forms of music from café-concerts to high opera. We hope to hear some of his songs on recital programs!
The libretto he set was an exotic tale by Louis Brunet and probably was inspired by Europe's 19th century fascination with Asian exotica. The Islamization of Persia began in the 7th century and we can assume that the opera takes place after that time since the ruler in the opera is the tyrannical Sultan Kourouschah. Prior to the time of the opera, his mistreated wife had fled with their infant daughter in her arms and had been rescued by Hagi Hassan, a good man who raised the child with love and care. At the time of the opera, the girl, named Amine has just wed a worthy young man named Ali when Beher, a henchman of the Sultan, abducts her to be the consort of the Sultan. Yikes!!!!
We are sorry to have given away the secret surprise reveal of the 4th act. Actually, as is our wont, we did not read about the opera in advance, hoping that the work would speak for itself, which it surely did. Nonetheless, we were probably not the only member of the audience to have anticipated the surprise!
The work was exceptionally well cast. Although the production was given as a concert version with music stands, exotic atmosphere was provided by the gorgeous "Arabian Night" costuming, even for the chorus. Yes, we know that Iran (the country formerly known as Persia) is not Arabic but you, Dear Reader, know what we mean. This colorful costuming was designed by Amy Amos, Givonna Joseph, and Aria Mason. In spite of the music stands, the singers, especially the women, managed to inject their characters with dramatic intention, looking at the character they were addressing.
The role of Morgiane was played by Mary Elizabeth Williams whose spinto instrument filled out the emotion of the lines in a way that created a character of depth and determination. Her way with the vocal line was exemplary and the tonal quality admirable. Although she is the eponymous heroine, her best music and dramatic performance was saved for Act IV when she performed a stunning aria replete with arpeggios. She created a character that was forceful and spunky, proving that women can change their fates, and we are on board with that!
Nicole Cabell is an entirely different type of soprano, a coloratura possessing an instrument of great agility. The ease with which she handled the fioritura whilst maintaining a warm coloration delighted our ears. Like Ms. Williams she always gazed upon whichever character she was addressing. She was completely believable as Morgiane's daughter Amine. Dédé gave her the most interesting music with a number of excellent arias and also duets.
As her new husband Ali, tenor Chauncey Packer sang sweetly with a lovely legato vocal line and a warm coloration, making his character most likable. One could really feel his anguish at losing his bride and his determination to recover her. In the duets, his voice blended beautifully with Ms. Cabell's, notably in Act I, in which the pair set the tone for the story by means of their mutual affection and deep devotion.
Joshua Conyers has a warm baritone that was just right for the role of Hagi Hassan. He conveyed all the warmth of a pater familias, protector of his family, a man who will go to any lengths to ensure their safety. And yet, one could imagine him as a shining knight on a white horse some two decades earlier, rescuing the poor Morgiane as she fled from her abusive husband--just the kind of hero who will raise another man's child as his own.
There was something very touching about a family banding together to try to save one of their own at a risk to their own lives. This is operatic in a way that contemporary stories cannot manage. We heard a stunning trio in which the parents and new husband vow vengeance for the abducted Amine. The composer's quartets showed his skill at weaving vocal lines into a multi-textured fabric.
The role of Beher, the Sultan's henchman, was well portrayed by bass-baritone Jonathan Woody who sat stony-faced but managed to sing with a snarl.
And finally, the role of the arrogant Sultan was sung by bass Kenneth Kellogg whom we didn't get to hear until Act III. Of all the singers, his French was the most comprehensible; of course, that is partly due to the low register, but also due to his crisp enunciation. He undergoes an Act IV transformation that was made believable by his skill at altering vocal coloration.
Just imagine! An opera with a happy ending! We left smiling because of the successful resolution, but also because of the marvelous music. Maestro Patrick Quigley was in full command of his resources and drew many colors from the orchestra. The music was varied with many contrasts of orchestration and rhythm. In the opening chorus, members of the OperaCreole Ensemble, sang about nature in lilting waltz time. Later, we heard martial music in 4/4 time.
Orchestral colors rivaled those of the rainbow. We even had the opportunity to hear the rarely heard ophicleide, an unusual brass instrument with a wide register, played by keys. We were so curious, we looked it up and learned that it was used mainly in the 19th century. and was featured in works by Mendelssohn and Berlioz. This was surely a night of discovery! We realize we have mentioned colors and coloration a great deal and perhaps this is one of the reasons we enjoyed the evening so much.
Let us finally mention that smaller roles were played by members of OperaCréole, including Valencia Pleasant, Taylor White, and Antonio Domino, Jr.
We believe a recording is forthcoming, in which case, Dear Reader, we urge you to have a listen. How impressive it is when two companies join forces to resuscitate a forgotten work. We in the audience only get to see and hear the end result. One can only imagine the happy accidents and diligent labor that went into creating such a memorable event.
© meche kroop
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