San Francisco Classical Voice

It had to happen that some day, someone would make an opera on the everlastingly popular "Nutcracker," and so it came to pass, Saturday in San Jose. This newest version of the E.T.A. Hoffmann short story, while not grand opera, is opera all the same, and its premiere by Opera San José in the Montgomery Theater came off very effectively on its own terms.

Composer Craig Bohmler and librettist Daniel Helfgot have created a charming, melodious, and eventually thoughtful operatic look at Marie, her Nutcracker Prince, Uncle Drossy (Drosselmeier), and their adventures in her land of dreams. Helfgot's version of the Hoffmann tale really begins to take hold and deepen in the second act, when Marie comes to terms with living in her world of dreams and the possibility of never returning to her family and real life. It's an interpretation that contrasts sharply with the shallow characters and sentimental plot of the ubiquitous Tchaikovsky ballet.

The imaginative production set the story in 1950s America, the postwar period of growing prosperity and a time for dreams. The language is clear and direct, English, of course, and with supertitles. Brilliant singing, and strong musical and stage direction contributed to the success of this commissioned work.

Outstanding was Suzan Hanson as Marie. A fine actress, she sang in a full lyric soprano and was convincing in her portrayal of a teen-age girl emerging into maturity. Marie expresses despair and frustration with her life, then a longing for her (dream) prince, and later joy at finding him. Finally, she must recognize her need to return to reality.

Baritone Constantinos Yiannoudes was no less impressive as the old but wily Uncle Drossy (Drosselmeir) who carves a nutcracker doll for Marie to guide her through the difficulties of growing up. His voice is full and well placed, though the orchestra overpowered him in the opera's early stages. The Nutcracker/Prince, Brandon Jovanovich, a true Prince Charming to Marie, sang with verve and clarity. Other principal singers include Noel Carey as the naughty kid brother Fred, Christopher Dickerson as the father, singing in a rich bass-baritone, and as Marie's mother, Janara Kellerman, a full-voiced mezzo soprano.

Bohmler's music is sophisticated after the manner of Leonard Bernstein's and Stephen Sondheim's musical theater styles, and the score is well orchestrated. The words and vocal lines go together well, and there is a nice variety of arias, duets, and trios. A backstage chorus in Act I adds to the element of mystery produced by strange noises, shadows (not mice), and the huge clock through which Marie and Drosselmeir pass into and out of the world of the Nutcracker (shades of Alice in Wonderland).

While the caricatured depiction of Marie's family was overdone, Yefim Maizel's stage direction was excellent. Mary Carol Warwick and Steven Mark Kohn provided additional lyrics. Conductor Barbara Day Turner and her fine orchestra performed with verve and drive, and the pace of the opera never let up. This work, filling a special niche in the seasonal repertory, will have much appeal for both young and adult audiences.

Getting a jump on the Christmas season, Saturday's premiere started a run of eleven performances, a second cast, also from the company's resident members, alternating with the principals named here.

(Margot Blum Schevill is a mezzo-soprano and a former Merolina, now a writer and museum curator, who sang in the Bay Area and elsewhere during the 1950s and 1960s.)

©1999 Margot Blum Schevill, all rights reserved