THE WORLD’S PREMIERE OF GOLDENTHAL’S OPERA “GRENDEL” BEGETS THE PUBLIC’S APPROVAL

Here we are at our very first “World’s premiere.” It’s of the opera “Grendel” of Elliot Goldenthal presented at the Pavilion of the Music Center by the Los Angeles Opera last June 8th, 2006. Our duty lies in offering a judgment from which we shun, since only time may be the better arbiter as it has often happened and continues on.

Verdi’s “La Traviata”, to cite an example, was much derided at Venice’s La Fenice at its premiere of March 6, 1853. Prior to that, also Rossini’s “The Barber of Seville” did not encounter the public’s favor at Rome’s Teatro Argentina on February 20, 1816. Also Bizet’s “Carmen” at the Paris’ Opera Comique on March 3, 1875; Puccini’s “La Boheme” at Turin’s Teatro Regio on February 1, 1896, and Puccini’s “Madama Butterfly” at Milan’s La Scala on February 17, 1904, was hooted and greeted with catcalls.

Many times, the critics and the public have not been in accord on a common denominator that determines temporary fiascos which thence became great lyrical affirmations or otherwise.

“Grendel”, for instance, has had the merit to receive the public’s approval at its “premiere”, and it may well continue to reap others in its transfer to New York in July.

However, it also would not surprise if future listeners declared the work not to their liking and relegate it to oblivion.

Why? Because it is one of those works that might please one, and hated by others who cannot digest its musical and figurative texture abounding in it. In fact, while one applauded contentedly, the others were headed for the exits.

It took two decades before Maestro Goldenthal was able to present this work which is enriched by the libretto of his life’s companion Julie Taymor, and J.D. McClatchy to the Los Angeles public.

“Grendel” is an operatic product of the novel of John Gardner, which deals with the legend of medieval warrior Beowulf and his most important conquest, the monster Grendel, during his reign of terror in the ninth century during which he slaughtered the subjects of Danish King Hrothgar.

At first, Julie Taymor, a highly respected stage directress, had thought to present it as a “rock” opera. She might have made the right choice!

There are many monsters, incredible looking creatures and serpents cavorting on the stage in a mis-en-scene in which it seems that all these bestial beings are keeping an appointment in an ancient zoo. The stage also supports a massive apparatus that threatens to crack-up at any moment.

In fact, the device broke up and caused a 12-day delay of the “world premiere” which cost an additional $300,000 to the anticipated cost of 2.800,000 dollars to mount Goldenthal’s work.

We choose to repeat that only our immediate heirs will have the last word on this opera, the music of which is very much dissonant, particularly in the first long act when the composer is trying to establish the background of the story and the identities of the personages and/or the monsters.

In the second act, one-hour long, Maestro Goldenthal, especially with the arrival on stage of Queen Wealtheow, changes the palette of his music transforming into lovely lyricism that unfortunately wanes as the story unfolds.

Parenthetically, the theme of this story is not altogether to our liking because we are incurable romantics, but this is a personal preference and it does not or should not weigh heavily or otherwise on the positive or negative scale.

From a musical standpoint, this composer seems to prefer to express himself in rhythmic tones, and he seems to favor percussion instruments to impart more weight to the dances that adorn the various scenes. Moreover, Maestro Goldenthal is a bit prolix (two hours and 40 minutes for the two-act opera.)

Stage director Julie Taymor, who gained most of her reputation for the Broadway production of “The Lion King”, confirmed her gifts for the mythical and the epic with a production in which Michael Curry and George Tsypin (the latter the scenery designer) played a larger than life role.

Of optimal quality and concentration the musical direction of Maestro Steven Sloane, who was able to extract every ounce of output from the Los Angeles Opera Orchestra as well as interpreting the thoughts of the composer.

And first grade the vocal contribution of American basso Eric Owens (Grendel) who was called many times than not to sing in a baritonal register to satisfy the demands of the score. That he emerged victorious is due to his diligence and will to succeed. In “Grendel” he is accompanied by three “Shadows” who often sing along with him and help him.

And the same might be said for the “Dragon” interpreted very well by mezzo-soprano Denyce Graves, who is also accompanied by three extremely garrulous “Dragonettes” who are seen and heard on the long tail of the serpent.

Tenor Richard Croft was not able to sing the role of the “Shaper” as well as he should have, perhaps because of the music written for the role, while Jay Hunter Morris, also a tenor, was heard as Unferth. Bass-baritone Charles Robert Austin interpreted a sexual King Hrothgar, while lyric soprano Laura Claycomb sang with grace and poise Queen Wealtheow, strongly coveted by Grendel.

Complicated but well done the choreography of Angelin Preljocaj, well prepared the Chorus of Maestro William Vendice, laudable the puppetry of Julie Taymor and Michael Curry, the Children’s Chorus of Anne Tomlinson, the Beowulf of Desmond Richardson, as well as all the others, among whom the young “Dragonettes” of Maureen Frances, Hanan Alattar and Jessica Swink, and the “Shadows of Grendel”: David Gagnon, Jonathan Hays and Charles Temkey.

Excellent also the lighting of Donald Holder.

MARTA DOMINGO OFFERS A NEW EDITION OF VERDI’S “LA TRAVIATA”

Marta Domingo, wife of the Los Angeles and Washington Opera, Placido, has devised a new Verdi’s “La Traviata”, seen for the very first time last June 7, 2006.

This is cause for concern, and thus she also inserts her name in the growing standings of irreverent and rebellious stage directors who carve their names in opposition of the tried and true.

Until now a respected stage directress more inclined to respect tradition, we hope that she will not have her sleep disturbed by the specter of the Swan of Busseto! In her hands, the immortal opera became an absurdity, a paradoxical entanglement, and a work virtually unrecognizable visually.

Hers is not anymore the “La Traviata” recommended and hailed for its sweet love story, for the unselfish sacrifice of the courtesan Violetta, for the grandiosity of the spectacle it offers, for its colors, for its sentimentality of its lyricism, and for the depth of the musical dramaticity contained especially in the last act. This is a “Traviata” to be forgotten!

We deeply lament the fact that the directress chose to mar the opera, transported to the modern era as the costumes suggest, and deep it into the sordid because, rather than let the public enjoy the melodious strains of the prelude, she chose to insert men who try (and succeed) to pick-up women for lascivious ends, as well as have a bejewelled Violetta enter the stage in a shiny antique car. New for us and for the Verdian opera!

Thereafter, Ms. Domingo continues to totally abandon tradition in order to express herself in an insensitive language, as well as in unusual contrivances such as when Alfredo, satisfied that he will see Violetta again on the morrow, appears suddenly on the stage during her “Sempre libera” and scoops her up in his arms and carries her away.

In the second act, despite the modern costumes, the stage directress seemed to have re-embraced the security of tradition, only to fall thereafter in a vortex of folly with a third act in Flora Bervoix’s home that looked more like a gambling house and a home of ill repute, offering black walls decorated with spider web designs and a ballet featuring semi-nude dancers, and, moreover, Violetta and Alfredo on top of a gaming table for “Questa donna conoscete” (Do you all know this woman). Further lamentable was the same suit worn in the second act by Giorgio Germont, among evening clothes.

Other unusual rareties were used by Ms. Domingo in the fourth act: obviously a snowy night (outside of course), what seemed to be a tremendously large moon facing the audience (moon and snow usually go together, don’t they?), and about 80 decorations passing for twinkling stars, which we invite the directress to explain if they intended to be entirely something else. On the nude stage complete austerity other than a combination sofa bed where a dying Violetta awaits her destiny.

No table and no mirror for Violetta to look at her face and exclaim, “O come son mutata” (O how I’ve changed). Nothing else until she reads the Giorgio Germont letter (which she has committed to memory) and she intones “E’ strano. Cessarono gli spasimi del dolore, etc.” (It’s strange. The pains have ceased), and she falls dead athletically on the sofa bed.

Are we joking or are we serious? Are we to consider it another nighmare or a joke in the name of the lyrical art?

Unfortunately, by making use of this sort of staging, the Los Angeles Opera sacrificed the vocal contributions of three wonderful voices in this ill-advised attempt to maim the Verdian opera.

It is obvious that none of the three believed in this caricature, first of all Elizabeth Futral, a celebrated prima donna with a gorgeous voice who portrayed Violetta with somewhat of a chip on her lovely shoulders. She was forever distracted by the staging regimen and many times she was indifferent and less incisive when what was required was sentiment and pathos. She reacted by overacting, but one cannot deny that she can and will offer a much better portrayal of the unfortunate courtesan.

Excellent the singing of baritone Dwayne Croft, a magnificent Giorgio Germont who became totally involved in the context of the story of Alexander Dumas, “La dame aux camellias”. Well sung and resoundingly applauded his aria “Di Provenza”, but we wonder aloud if Monsieur Dumas thought of automobiles in his days.

Also optimal the vocal debut of a young tenor from Malta, Joseph Calleja, and already a celebrity in the lyrical world. His Alfredo was pleasing and sung with warmth and ardor, even though he seems to avoid top notes left up to the individual’s discretion, like the one in “O mio rimorso” (O my remorse). Moreover, he has a tendency of looking awkward and progressively less elegant.

Maestro John Fiore held firmly in his hands the pulse of the Los Angeles Opera Orchestra, but he also seemed not to have faith (probably) in the strange happenings on the stage, losing much of the sentiment in Verdi’s music.

Fair, only fair the choral forces of Maestro William Vendice, and not pleasing the choreography of Kitty McNamee, but of good quality the work of the comprimarios: the Flora of Suzanna Guzman, the Gastone of Peter Nathan Foltz, the Douphol of Philip Kraus, the D’Obigny of Lee Poulis, the Dr. Grenvil of Jinyoung Jang, the Giuseppe of John Kimberling, the Messenger of Mark Kelley, the Servant of Tim Smith and the awkward Annina of Jessica Swink. Trevor Stirlin Burk was somehow unable to give this “Traviata” the lighting effects it deserves.

Luigi Smaldino

 

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