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OPERA REVIEW
Strong Cast Graces Jenufa November 19, 2001
Photos by Larry Merkle |
By Olivia Stapp
At last night's San Francisco Opera premiere of Janacek's masterpiece Jenufa there were too many empty seats. Granted, it was on a Monday, a night when the opera house is customarily dark; the holiday was coming; and people are "cocooning," staying home more these days. But this was a rare opportunity to hear this work which has been previously performed here only three times.
Janacek's predilection for ethnographic research is apparent in this, his most-performed work. Imbedded in the dense harmonies are multiple allusions to Moravian folk melodies, giving the opera its defining "Czech" character. Nonetheless, the piece is dark, playing out its tragedy in the small village of Slovacko where under the veneer of bucolic simplicity lie intense conflicts between narrow-minded mores and human aspirations.
Everything about this worthy Zambello/Chitty production underscores the harshness of the drama. The set is mainly three huge gray walls with occasional blunt colors on stage. Some visual surcease is provided by a long pool which reflects light on the proscenium in Act 1, and brilliant white side lights in Acts 2 and 3 casting dramatic shadows. The laudable attempts to maximize dramatic effect, by abstracting and paring down, somehow has the opposite effect here. As a work of art in itself the set is stunning, but in function it dwarfs the actors and the cold lighting mutes the player's faces.
Most of the wonderful voices in this cast were overwhelmed by the unrestrained conducting by Jiri Kout. What ever happened to opera conductors who saw as their primary task highlighting the individual qualities of the human voice, rather than forcing singers to sing at the limits of their capacity merely to be heard? Several patrons around me complained that "the band was too loud." Indeed, in such cases the orchestra pit ought to be covered. The success of the entire production is at stake as well as preservation of the voices of our young dramatic singers. Patricia Racette (Jenufa) used her gorgeous voice masterfully. She gets inside a phrase and plays on that careful edge between perfect technique and heart. Her portrayal went from spirited girlishness to gentle sadness and then on to brilliant transfiguration. She is one of the three great American sopranos of our time along with Swensen and Fleming, and this is a superb role for her. The part of Kostelnicka played by Kathryn Harris provides the opportunity for a singing actress to excel. It has everything: dramatic vocalism, compelling characterization, and an apocalyptic solo scena before she commits infanticide. This staging portrayed her simply as highly neurotic. We were not even spared an epileptic seizure at the end of Act 2. If she is made small, both by this choice of characterization and the immensity of this stage, the character is denied its monumental stature and is no longer pivotal in the drama. Kostelnicka's denouement then no longer matters. Harris used her lustrous voice effectively but when she had to contend with the overloud orchestra her voice became opaque.
Helga Dernesch as Grandmother Buryjovka allowed us to recall the days of powerful performers who could fill the stage and auditorium with their sheer presence. Richard Berkeley Steele (Laca) sang robustly and indeed heroically and his physical acting was excellent. The tenor Jay Hunter Morris portrayed the drunken cad Steva with convincing assurance. The smaller parts were energetically defined and well staged. Most notable (and audible) were Greta Feeney as Jano, Bruce Baumer and Victoria Livengood as the town mayor and his wife. The chorus was excellent, both young and old alike. The surtitles projected at either side of the proscenium read well. An excerpt: "she is as proud as a poppy flower, and her eyes make your soul take flight." The audience gave deserved extended applause to all the artists after both the second and the third acts and a standing ovation to Patricia Racette. (Olivia Stapp is an opera director, formerly artistic director of Festival Opera (1995-2001), has had a major international career as a soprano, and will direct Opera San Jose's Manon in January.) ©2001 Olivia Stapp, all rights reserved |
