THAIS (New Production)

Opera in three acts by JULES MASSENET
Libretto by Louis Gallet, after novel by Anatole France
Sung in French with English titles

Sir Andrew Davis, conductor
Paul Brown, set and costume designer
Angela Genova, dancer 

Performance of Friday, January 17, 2003
at the Civic Opera House, Chicago

All photos courtesy of Lyric Opera of Chicago

CHICAGO, Jan 17, 2003 – On the way to the Civic Opera House from my hotel, I could feel the palpable excitement in the air, as if something momentous was about to happen.  Indeed, there has not been so much media buzz surrounding an opera production since Guillaume Tell in San Francisco 10 years ago.  Part of the excitement was, no doubt, due to the presence of two reigning opera superstars of our time – soprano Renée Fleming and baritone Thomas Hampson – whose respective fans showed up in force and were not disappointed.

Thais, Act I

More people are familiar with the “Meditation” from Thais than with the opera itself.  It is a shame, because the story is an engaging one.  Simply told, the opera’s plot traces the life journeys together of two unlikely characters – Thais’s from a courtesan to a saint, and Athanaël’s from a pious monk to a love-obsessed lunatic.  Along the way, the two meet with worldly temptations and spiritual quests set to Massenet’s supremely lyrical, often intoxicating, music.  For this new production, British designer Paul Brown replicates the many Art Deco motifs from the opera house itself (the chandelier, honeycombed metallic wall, engraved frieze over the doorway, etc.)   In so doing, he successfully creates a powerful illusion that immerses the audience in the actions onstage.  Thais and  Athanaël suddenly become real human beings and their clashing confrontations all the more dramatic as a result.

Thomas Hampson as Athanaël,  Renée Fleming as Thais, Act II

Thomas Hampson’s suave baritone and imposing 6-foot-plus frame make for a convincing religious fanatic Athanaël.  It is an ungrateful role in an opera in which the star soprano gets the top billing and all the public’s adulation.  However, in this production, Mr. Hampson tackles the role heroically and sets out to prove Athanaël not only the dramatic equal of Thais, but one of the great roles of French grand opera.  Mr. Hampson’s singing had the firm focus and solemn intensity of a holy man on a mission.  The voice acquired darker colorings as Athanaël descends to madness, but softened for a brief moment of lucidity in the gentle, poignant duet with Thais in Act Three, “Baigne d’eau mes mains et mes lèvres”.

Having previously sung the role of Thais only on CD and in concert,  Renée Fleming graced the stage with all the vocal (and dare I say physical) allures that one has come to expect from this fine artist.  That is not to say that one should take Ms. Fleming’s talent  for granted, but merely to re-affirm her status as the darling diva of America, if not the world.  As the courtesan Thais, Ms. Fleming appeared in a stunning ruby-red sequined lingerie gown, matching perfectly the sheen and gossamer texture of her soprano voice.    Ms. Fleming is perhaps unique among today’s singers in her ability to project overwhelming emotions with the softest whisper of a tone or a phrase.  Nowhere was this special quality more apparent than in Thais’s statue aria “Considère ô mon père” in Act Two which, in addition to being a model of legato singing, was a deeply moving portrait of a woman who tries to hold onto a nostalgic piece of her past, a memento of her journey to sainthood.

Renée Fleming as Thais, Act III

The supporting players in this wholly superb cast included the sweet-toned tenor Donald Kaasch as Nicias, Thais’s last boy toy before her spiritual conversion.  Bass Stephen Morscheck was the authoritative head monk Palémon.  Chinese mezzo-soprano Guang Yang was warmly sympathetic as the Mother Superior Albine.  Soprano Nicole Cabell and Mezzo-soprano Lauren McNeese delighted the audience as Nicia’s two bubbly maids, and soprano Stacey Tappan wowed the Act Two party guests with her coloratura hijinks.  Last but not least was Angela Genova’s memorable, erotically charged belly dancing.

Sir Andrew Davis, Lyric Opera’s new Artistic Director, gave a vivid and passionate reading of Massenet’s gloriously sensuous score.   The Lyric Opera Orchestra sounded better than ever under Sir Andrew’s new leadership.  Most memorable was the blend of throbbing strings and impassioned horn calls depicting the splendor of Alexandria in Act One.  The famous “Meditation” was lovingly played by assistant concertmaster Sharon Polifrone and accompanied, to the everyone’s surprise and delight, by an offstage humming chorus.

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LA TRAVIATA

Opera in three acts by GIUSEPPE VERDI
Libretto by Francesco Maria Piave
Sung in Italian with English titles

Sir Andrew Davis, conductor
Desmond Heeley, set and costume designer
Thor Steingraber, stage director
Christine Binder, lighting designer

Performance of Saturday, January 18, 2003
at the Civic Opera House, Chicago

All photos by DAN REST, courtesy of Lyric Opera of Chicago

CHICAGO, Jan 18, 2003 – La Traviata is my favorite Verdi opera.   It is an amazing score that looks deceptively simple on paper, yet packs a wallop emotionally when properly staged, with a skilled actress portraying the consumptive (but by no means frail) heroine.   In this revival of Lyric Opera’s 1998 production, German soprano Alexandra von der Weth gives a more studied, introspective reading of Violetta, compared to the fiery Hungarian Andrea Rost’s intuitive, heart-on-sleeve interpretation in 1998.  This is a perfectly effective portrayal, and showcases the glamorous German soprano in full command of her considerable craft.

Lopardo as Alfredo,Von der Weth as Violetta, Act I

The handsome production design by Desmond Heeley is lavish with a classically appointed interior for the party scene and a lush, dreamy spring garden for Violetta’s home in Act Two.  There is a simplicity and easy elegance to the sets that, when coupled with Christine Binder’s dramatic lighting, seem to come alive with emotions and voices of their own.  The same economy of gestures also informs the stage direction by Thor Steingraber.  In the finale, Violetta’s lifeless body slumps to the side of the bed, while Alfredo sinks to his knees in despair and Germont and others look away in horror.  Some may find this stage picture somewhat contrived and ‘stagy’.  I found it singularly powerful and moving.

Tenor Frank Lopardo sang Alfredo with a strangely covered tone and frequently resorted to falsetto where a true mezza voce was needed (“De’ miei bolenti spiriti” in Act Two for example).   Much more satisfactory was baritone Roberto Frontali, whose beautifully nuanced singing as Giorgio Germont compensated for an occasional odd vibrato in the voice.  Mezzo-soprano Guang Yang was sympathetic as Violetta’s maid Annina.

Frontali as Giorgio, Von der Weth as Violetta, Act II

As the ‘strayed woman’, Alexandra von der Weth was wholly believable vocally as well as physically.  The statuesque German beauty possesses a pure, flexible voice well schooled in the Italian tradition of bel canto.  But brilliant vocal display alone does not a great Violetta make.  Ms. Von der Weth also possesses a keen intelligence that informs her every gesture and phrase.  Violetta is a woman who sacrifices her own happiness for the welfare of the man she loves.  Ms. Von der Weth showed her understanding of the role in the great Act Two duet with Germont, where the white-hot intensity of her singing and acting (whooping coughs, sinking into a chaise lounge, etc.) sent a searing heat wave through the house.  “Addio del passato” was uncut, with the second stanza sung even more poignantly than the first.  Ms. Von der Weth’s was the best-acted Violetta I have seen in a long time.

Sir Andrew Davis presided over the pit with unfailing sensitivity, whipping up the orchestra to a frenzy in the party scenes, and whittling it down to a whimper during the intimate exchanges in the Violetta-Germont duet.  The Lyric Opera Chorus lent a strong support as well, both on and off the stage.

Reviewed by Truman C. Wang

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