Last weekend I saw Glimmerglass Opera's production of Lerner & Loewe's Camelot, a musical I'd not had a chance to revisit since viewing its original Broadway production in 1961. It's a wonderful musical with an unusual twisted history. First, it followed their smash hit, My Fair Lady, which was still running when Camelot opened. While the show had a good run, largely because of the huge advance sale stimulated by My Fair Lady's success, reviews were only mildly favorable.
It has since been concluded that this situation was the result of the illness and consequent withdrawal of Moss Hart as director. He'd staged My Fair Lady and was already an acknowledged Broadway genius, added on to his status as a playwright in tandem with George S. Kaufman. When he returned some months after the show opened, he re-staged it to great effect, so that those who saw it then said that had he been able to prepare the show for opening night, it would have been a critical smash.
Glimmerglass put on a fine performance. Strongest was David Pittsinger as Arthur, and this year's artist-in-residence, Nathan Gunn, was Lancelot. Andriana Churchman put on a nice showing which in some ways even conjured up recollection of the now-legendary Julie Andrews as Guenevere. I found that Pittsinger was a strong singer, probably with a better voice than the wonderful Richard Burton, although no one is likely to act better than Burton. Gunn, alas, did not to my hearing come close to matching the roaring performance of Robert Goulet, in his Broadway debut, as Lancelot, especially in the blockbuster ballad, If Ever I Would Leave You--he was better in the lighter C'est Moi.
Camelot was drawn from the delightful re-telling of the Arthurian legends by T.H. White, The Once and Future King. That novel was once described by a critic as "the Middle Ages--not as they were but as they should have been." Seeing the show prompted me to pull out Volume Two of the classic Bulfinch's Mythology--The Age of Chivalry, to refresh myself on the stories. It was a fine excursion.
Thursday, August 22, 2013
Friday, August 16, 2013
Exciting Dutchman
Tonight was a chance to see and hear a total delight--without a doubt, the Glimmerglass Festival performance of Wagner's The Flying Dutchman (Der Fliegende Hollaender) was the best of several I've seen over the years. Mostly, it was director Francesca Zambello's imaginative production that made the evening so memorable. John Keenan led the company orchestra in a spirited rendition of the wonderful score.
The stage featured much in the way of nautical motifs--lots of ropes and fanciful representations of sails and decks and gunwhales. The screen at the rear of the stage benefitted from use of gradual blackout and the ensemble did a nice job of dancing what appeared to be traditional sailors' steps. I found the cast generally excellent with Melody Moore as Senta, the heroine who strives to save the haunted and cursed title character, and Peter Volpe as Daland, her mercenary sea-captain father, a fine bass, the standouts. Jay Hunter Morris, who hit the Wagnerian big time as Siegfried in the Met's massive Ring series, was a strong Erik in a supporting role.
The performance worked the way festival opera presentations should: a production broke new ground in its conception and combined with excellent orchestral backing to give the audience a wonderful exposure to Wagner's finest early work. The pre-performance lecture emphasized how in Dutchman he was still utilizing many of the approaches of Italian opera, especially the bel canto era of Donizetti, Bellini, and Rossini which had just preceded Wagner's (and Verdi's) birth(s) 200 years ago. So this Wagner opera has duets and trios as well as recognizable arias, which were mechanisms he moved past by the time of the later masterpieces such as the Ring operas.
Glimmerglass is now on the top level of American summer opera festivals, joining Opera Theatre of Saint Louis, which I've been lucky enough to visit, and the Santa Fe Opera, which I still hope to see one of these days. Ms. Zambello, the director tonight who also head the festival is also in charge of the Washington National Opera, where I'm looking forward to seeing in the next two months productions of Tristan und Isolde, and with even more expectation to Verdi's La Forza del Destino, one of my personal favorites.
The stage featured much in the way of nautical motifs--lots of ropes and fanciful representations of sails and decks and gunwhales. The screen at the rear of the stage benefitted from use of gradual blackout and the ensemble did a nice job of dancing what appeared to be traditional sailors' steps. I found the cast generally excellent with Melody Moore as Senta, the heroine who strives to save the haunted and cursed title character, and Peter Volpe as Daland, her mercenary sea-captain father, a fine bass, the standouts. Jay Hunter Morris, who hit the Wagnerian big time as Siegfried in the Met's massive Ring series, was a strong Erik in a supporting role.
The performance worked the way festival opera presentations should: a production broke new ground in its conception and combined with excellent orchestral backing to give the audience a wonderful exposure to Wagner's finest early work. The pre-performance lecture emphasized how in Dutchman he was still utilizing many of the approaches of Italian opera, especially the bel canto era of Donizetti, Bellini, and Rossini which had just preceded Wagner's (and Verdi's) birth(s) 200 years ago. So this Wagner opera has duets and trios as well as recognizable arias, which were mechanisms he moved past by the time of the later masterpieces such as the Ring operas.
Glimmerglass is now on the top level of American summer opera festivals, joining Opera Theatre of Saint Louis, which I've been lucky enough to visit, and the Santa Fe Opera, which I still hope to see one of these days. Ms. Zambello, the director tonight who also head the festival is also in charge of the Washington National Opera, where I'm looking forward to seeing in the next two months productions of Tristan und Isolde, and with even more expectation to Verdi's La Forza del Destino, one of my personal favorites.
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