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Wexford Festival Opera 2010 Lorem Ipsum Dolor Sit Amet Back on a Winning Track

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Wexford Festival Opera 2010 Lorem Ipsum Dolor Sit Amet Back on a Winning Track Opera con Brio, LLC November 2010 Opera con Brio Fall 2010 Richard B. Beams Wexford Festival Opera 2010 Lorem ipsum dolor sit amet Back on a Winning Track Wexford Festival Opera, now in its 59th year, is back on a winning track. Having moved into a grand new theatre two years ago, just as a crippling recession hit, survival, as for many companies, has been precarious indeed. But survive it has, glowingly, after a scaled-back season last year missing the very popular ShortWorks operas. However, this year’s expanded season not only brought these back but also offered three first-rate productions in the main house, as well as a full schedule of daytime concerts. Although I was unable to attend any orchestral and choral concerts, the varied performances I did attend attest not only to a revitalized Festival but also to its continued high standards of artistic achievement. During three sparkling, sunny days, October 19-21, these performances included: the three main stage operas, three ShortWorks operas, and three of the twelve daytime recitals. Three sparkling days indeed! The Main Stage Operas A triumphant Kiss The jewel of the Wexford season was Bedřich Smetana’s charming 1876 folk opera Hubička (The Kiss), which he himself dubbed a “simple national opera…a thoroughly dignified comedy,” full of natural and irresistible humor. And so it was in Wexford, in a simple yet captivating production. Unlike their 1974 performance in English, Wexford presented the opera in the original Czech. In 2012 Opera Theatre of St. Louis will perform this shared production, in English, as they always do. Indeed the only Czech- language performance of the opera I have heard in the United States was by the equally enterprising Sarasota Opera in 1991, which had the advantage of the well traveled Czech Coach and Consultant, Eveta Synek Graff. Wexford had an equivalent advantage, with Czech conductor Jaroslav Kykzlink’s warm and vibrant reading of this rich, colorful score, and with the Waterfront view of the Wexford Opera House Prague Chamber Choir, led ably (as always at the Rossini Opera Festival) by Photo: Ros Kavanagh Opera con Brio, LLC November 2010 Chorus Master Lubomír Mátl. The chorus took on, as it should, a personality of its own, interjecting its peasant wisdom into the rustic, seemingly naïve plot in which Lukáš, a widower, wants to kiss Vendulka, his first love, at their betrothal. She refuses, however, and insists, out of respect for Lukáš’ dead wife, on waiting until after the wedding. They quarrel and each for a while reacts in his or her equally headstrong manner, only to finally make up - and kiss - at the curtain. As Smetana’s biographer, Brian Large, points out, the framework is certainly slender, but as a musical experience, it is a very different matter: “That Smetana has produced a score so warm, genial, felicitous and enchanting is one of the miracles of music when one remembers that because of his total deafness he was [in his own words in an 1877 letter] ‘unable to hear even one of the thousands of notes I have written down in The Kiss.’” It was no small matter, then, for the Wexford Festival audience to hear such a rich and idiomatic performance of a work that is so rarely aired outside of the Czech Republic. Pumeza Matshikiza and Peter Berger in The Kiss Photo: Clive Barda Jeník and Mařenka, come from the Bohèmeian countryside. Lukáš and Vendulka instead hail from a mountainous countryside near the Saxon border. Superstition is a key element (as also in Weber’s Der Freischutz, set in the same region). The director, Michael Gieleta, nicely stresses this fact in the protective circle Vendulka traces for the deceased mother around the child’s cradle before she sings her haunting lullaby. While the withheld kiss at the opera’s outset may be seen as metaphor for withheld sexual activity, or more plausibly a nod Smetana’s The Kiss Photo: Clive Barda of respect for the deceased wife, it is fundamentally rooted in the element of superstition, so rightly emphasized in this production. But there was much more that helped bring the charm of this work to Smetana’s immediately preceding opera, the delightful and buoyant life. The set was a wooden cyclorama framing the stage action; its Two Widows, was a rather modern one for the time, raising the issue sliding panels helped bring focus to the folksy characters, in their of whether a young widow should mourn for the rest of her life, or go slightly updated attire and their relatively static interactions. In out and get a life. The Kiss is a sequel in a way. The opera assumes contrast, neither of the other two operas performed on the main stage the answer at the outset: Lukáš will return immediately to his former at Wexford this year are works meant to present characters of flesh love. Wexford’s staging of a pantomime during Smetana’s overture and feeling. Instead they are puffed up with Romantic hyperbole (which in part depicts the love of Lukáš and Vendulka) wonderfully (Virginia) or exaggerated fantasy (The Golden Ticket). Smetana, moves us beyond this issue and sets up the current issue – not how however, was especially concerned with the antithesis of such long to wait, but how to wait. The pantomime includes a slow funeral distortion, the realistic portrayal of character. And indeed he creates procession moving across the stage, Lukáš at its head. Following in characters of persuasive subtlety, who react and develop according to the rear is another mourner, Vendulka. The procession pauses, Lukáš the rise and fall of their emotional temperaments - vividly, spontaneously. walks back to share a tender moment with the woman he is now free to marry. But no kiss… that will come in time! Such were the portrayals Wexford brought to the production. Foremost were the well-matched two leads, South African soprano Ms. Graff, in notes to the 1991 Sarasota opera production, pointed to Pumeza Matschikiza and Slovakian tenor Peter Berger. The singing an interesting footnote regarding Vendulka’s father. He wants to and acting of each brought out credible characterizations indeed. Ms. caution the young lovers that they may be temperamentally a Matshikiza’s warmth of tone was especially expressive in her hushed mismatch; at the same time he wants to rid himself of the petty prayer and lullaby in Act I, and Mr. Berger’s bright tone and ringing quarrels of the worldly life in which he finds himself. He constantly clarity were especially suited to Lukáš’ more volatile nature. Equally tries to make his peace with God, she states, so as to enter heaven with effective in supporting roles were two singers well-versed in Czech: a measure of tranquility. So did Smetana, she writes. As he wrote in rich-toned mezzo Eliska Weissová, as Vendulka’s sympathetic and his journal of March 1876, just as he finished The Kiss, “If my cunning aunt; and the solid bass, Jiři Přibўl, Vendulka’s stubborn, deafness is not curable, then I would prefer to be liberated soon from cautioning father, although at times his stooped posturing became this painful life.” almost caricature. Happily, Smetana found solace in music. The opera triumphed at its These characters belong to a different world than that of Smetana’s premiere, as it did at Wexford. That it continues to enchant is also the well known earlier opera, the Bartered Bride, whose protagonists, triumph of a person condemned never to hear a note of it. 2 Opera con Brio, LLC November 2010 brutal as well). Indeed the interruption of this scene by an off stage plebian funeral procession reminds us of Appio’s villainy just as well as does Monterone’s interruption in Verdi’s scene. Poignant father/daughter and baritone/soprano exchanges, a Sparafucile-like assassin plot, and more of the like complete the parallels. From old world to new: “timeless threatening marble” The libretto states that the setting for the opening scene is a “magnificent hall, where Appio is offering his friends and fellow- patricians ‘a sumptuous banquet.’” As Director Kevin Newbury describes in his program notes, the production begins with “an opulent, reflective black marble surround, representing the ‘old world’ decadence of Appio’s milieu. Ornate moldings of garland and animal skulls frame the space, while fixed benches - like those found in ancient meeting spaces line the perimeter.” Appio and his friends are having an “ostentatious toga party…complete with colorful, festive Opening scene of Mercadante’s Virginia at Wexford Opera Festival costumes and a Dionysian banquet table.” Photo: Clive Barda After the jarring intrusion of the plebian funeral procession, Appio – the clear-toned Sicilian tenor Ivan Magri, clad like the others in colorful Roman gear – begins his entry cavatina of passionate longing Mercadante’s melodrama: a rousing Virginia for Virginia. His henchman, Marco, (sonorous Italian bass Gianluca Buratto) enters wearing a contemporary suit and informs Appio that At quite the other end of the spectrum was the elaborate production of th Virginia has refused his advances. During this important “tempo di Mercadante’s 19 century melodramatic pot-boiler, Virginia, an opera mezzo” (the interim material setting up his concluding cabaletta), Lorem ipsum dolor sit amet whose sprawling plot and noisy score tested the both the credibility Marco whispers to his frustrated boss, “Simula…E’ il similar virtu” and tolerance of the festival audience. A visiting critic warned me (“Make a pretense…It is a virtue to be able to pretend”). before hand that I should just close my eyes and listen and that I wouldn’t have any trouble hearing either.
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