Back to the performances. The Music Man (1957) – book, music and lyrics by Meredith Willson. For those of you who know me, you will know that I am not a big fan of musicals (you can call me a snob, that’s OK!) but if musicals are to be done, then the level at which Glimmerglass Festival produced The Music Man was certainly the right way to go about it. No mics, trained voices, great direction, a well-done production. It was such a pleasure to see and hear great baritone Dwayne Croft in the role of Prof. Harold Hill having a comeback after 20 years to the same company where he had his opera debut in 1975 (in the chorus). So many members of the Young Artists Program together with the festival chorus singing, dancing, having fun. As Elizabeth Futral who played the lead female role of Marian Paroo rightly pointed out, “The basic lessons of The Music Man still ring true . . . people still pine away for good partners, communities still long to be engaged in activities that make them energized and there are redeeming qualities in all of us if we’ll just take enough time to look for them!” So, I had a fun evening in spite of myself! And at the end, the production crew was packing this production to go to Muscat, Oman. How wonderful is that?
Now a day later, I am writing this as I came back to my little, modest inn from one of the most powerful and emotional experiences in the opera world that I have known for a long time. I still feel shaken after seeing Kurt Weill’s Lost in the Stars. This musical tragedy (you could call it also “singspiel”) is definitely a masterpiece of musical application to dramatic narrative (quoting Virgil Thomson). This was Weill’s last stage work; it premiered in 1949 and survived him on Broadway by just three months — he died of a heart attack at the age of 50. In 1948, Weill’s collaborator Maxwell Anderson asked permission from the South African novelist Alan Paton to set the novel Cry, the Beloved Country to music. Weill always carried within him and often admitted to such deep awareness of the suffering of the underprivileged, the prosecuted, the oppressed and he definitely managed to address in this opera racial issues, injustice and tension but chose a distant land as opposed to his newly adopted home. This production was co-produced with the South African Cape Town Opera and I can’t even start imagining what it must have felt like being there and seeing it in South Africa. Tazewell Thompson’s directing stayed away from overly sentimental and kept the production in all of its elements a gut-wrenching experience, navigating us with utmost sensitivity and intelligence through the issues of almost biblical proportions — family, faith, redemption. Eric Owens in the role of Stephen Kumalo was absolutely phenomenal; he brought the audience to tears at the end of Act 1 with the song that gave the work its title which he sung with such raw existentialist despair “God who’s gone away . . . .” By the end of the performance in the last scene Eric himself was sobbing and so were the rest of us. The power of music, theatre, great artists, excellent production all as one with the audience that lets itself be taken on this journey. Another notable performance was by Sean Panikkar in the role of The Leader — he has a really nice, warm tenor voice that I wish to hear again.
For an opera house that doesn’t have AC and by the end of the first act can get rather warm, it has a very “cool” design — the outside side walls are on these huge sliders, so as the intermission starts, the walls get opened on two long sides, making the house nice and cool. I thought I would mention it for our house architect Clayton!
My last opera at Glimmerglass Festival was Aida — also the performance that closed this year’s festival. Aida was very, very successfully directed by Francesca Zambello (who is also the artistic and general director of Glimmerglass Festival). I have always admired her, but even more so after seeing her Ring Cycle a couple of years ago. It’s hard imagining Verdi’s grand opera Aida as chamber opera but it is full of very intimate scenes that easily get lost when you stage it on the grand stages of the world. It was really interesting seeing it from that perspective and also in the context of the Arab Spring, keeping it relevant to today’s Middle Eastern political situation. Machine guns, praying mats; military uniforms mixed with female and royalty costumes inspired by ancient Egypt. The conductor Nader Abbassi (who is the head of the Cairo Opera) gave the score such intimate reading and led the cast with secure, musical perfection. It was a predominantly young cast, filled with rising American stars — in the title role Michelle Johnson; Noah Stewart was very good as Radamès and is certainly someone to watch; Daveda Karanas was fantastic as Amneris, and Philip Gay as very young King. Eric Owens recovered from the afternoon’s performance of Lost in the Stars and was a wonderful Amonasro. Certainly a production that must have challenged some members of the audience who want the elephants and all of the trappings of the Triumphal March, but only a handful left the theatre at the one intermission. A thought-provoking production for sure that keeps the opera relevant in today’s world as much as it was when first premiered in Cairo.
The theme of this year’s festival was “Windows on the World.” In choosing this team, Francesca Zambello wanted to inspire discussion about our world today. In her own words: “The world we create . . . will be reality, a world in which history can be examined, assumptions can be challenged and our common humanity celebrated.” Well done Francesca! Congratulations on your vision and the world you have created for us! I am looking forward to your next season. And left content with the last words I heard tonight: “Pace, Pace, Pace. . .”