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Oddball opera has a glorious moment in L.A., meatballs and all

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Oddball opera has a glorious moment in L.A., meatballs and all

As a lifelong opera enthusiast who has seen my fair share of productions, both highbrow and lowbrow, I must say that this weekend’s offerings were some of the most memorable I have ever experienced.

In contrast to many other cities, Los Angeles stands out for its reputation in opera, being more of a trailblazer, breaking free from rigid traditions and embracing innovation. Together, Long Beach Opera, The Industry, and the Los Angeles Philharmonic have formed an impressive mechanism for reinventing opera.

In Yuval Sharon’s latest book “A New Philosophy of Art,” the chapters “Toward an Anti-Elite Opera” and “Breaking the Frame” provide a compelling insight into the unique style of opera in Los Angeles. Interestingly, three mainstream L.A. opera companies also offered a fresh perspective on mid-19th century operas in an unexpected manner as well.

The unique nature of the operas – Russian, French, and Italian – is undeniable. Their settings range from humble to opulent, and they span geographically from the Western to the Eastern sides.

Last weekend, Independent Opera presented the West Coast debut of Alexander Dargomyzhsky’s “The Stone Guest” in a simple setting at St. Andrew’s Lutheran Church in the Sawtelle district. Originally left incomplete upon the composer’s death in 1869, this opera was the most significant performance of the weekend, and it was delivered in an understated manner that stood out as the least ornate.

Established in 2012, Independent Opera is an organization founded by multi-talented Ukrainian conductor, pianist, and dynamo Galina Barskaya, with the purpose of presenting operas that are less commonly performed in Los Angeles, regardless of budget constraints. Last Friday, the attendees took their seats on about forty folding chairs. The performers stood, in a sense, as honored guests, positioned at music stands. Barskaya provided the accompaniment at the piano. Despite the modest setup, it was a truly enlightening experience.

Dargomyzhsky is recognized, if recognized at all beyond Russia, primarily for this opera and also for PDQ Bach’s 1970 groundbreaking parody album, “The Stoned Guest.” This opera directly adapts Pushkin’s play, which was penned as a counterpoint to Mozart’s “Don Giovanni,” line by line. During her speech, Barskaya shared that she can no longer recall whether she encountered “The Stone Guest” or Mozart’s “Don Giovanni” first in Kyiv during her childhood, such is the significance of this work in shaping Russian opera.

In a unique approach, Dargomyzhsky’s opera, devoid of traditional arias or standalone pieces, shines light on Pushkin’s verses, paving the path for the more Russian-influenced operas of Mussorgsky and Rimsky-Korsakov. Unlike Mozart’s Don Juan opera, Dargomyzhsky’s version presents a protagonist who is more of a romantic figure than a rogue, while his servant, Leporello (portrayed as a deep bass in the opera), is depicted as darker and less comical.

Dargomyzhsky passed away, leaving behind merely a piano score; however, Rimsky-Korsakov brilliantly arranged this music. Experiencing “The Stone Guest” sung without any theatrical or orchestral enhancements strongly emphasized the immense musical force that Russian language and Pushkin’s text can carry.

Among the youthful vocalists who scored roles, none of them spoke Russian, yet they formed a gifted and persuasive ensemble, spearheaded by TJ Simon as Don Juan, Michael Payne as Leporello, Shannon Moore as Donna Elvira, and Ariel Pisturino as Donna Anna.

Oddball opera has a glorious moment in L.A., meatballs and all

On a Saturday evening at the Dorothy Chandler Pavilion, Los Angeles Opera brought back an opulent staging of Gounod’s “Romeo and Juliet,” which predates “The Stone Guest” by two years. While it was adorned with all the elements characteristic of grand opera, it lacked substance. Beyond a few catchy melodies and one well-known aria, this rendition of Shakespeare’s play is barely remembered in the standard operatic canon and falls short compared to even Baz Luhrmann’s “Romeo + Juliet” adaptation.

Despite some criticism, L.A. Opera successfully utilized Gounod’s works to showcase talented young singers, including Anna Netrebko and Rolando Villazón in 2005, as well as Vittorio Grigolo alongside Nino Machaidze in 2011. This was made possible with the help of Ian Judge’s production.

I assumed that the Lego-style model had been discarded by now, but I was proven wrong once more, thanks to L.A. Opera. They’ve managed it again – this time with the introduction of a captivating duo of lovers, tenor Duke Kim and Amina Edris, who are both stunning and full of energy.

In her debut as an opera director, Kitty McNamee refreshingly reimagined the production by orchestrating all performers, even the chorus, with elegance and panache. Against the challenging backdrop of opera, the romantic leads captivated audiences, while the battle sequences sparkled with intensity.

In summary, the company boasts an exceptionally articulate conductor, Domingo Hindoyan from Venezuela, who has been appointed as the Chief Conductor of the Royal Liverpool Philharmonic. He is rapidly gaining recognition and his recording of Bruckner’s Fourth Symphony, released in the spring, showcases a radiant and majestic quality that sets it apart among many competitors. His four productions with L.A. Opera run until November 17th and represent his only performances in the U.S. this season, which is a significant achievement for the company. Some speculate whether this could mean he is being considered as a successor to Music Director James Conlon, who will step down in 2026.

Many Parisians did not embrace Gounod’s opera despite its success at the Théâtre Lyrique. Instead, a satirical production titled “Rhum et Eau en Juillet” (“Rum and Water in July”) was hastily arranged on a rival Parisian stage. I wonder what kind of performance that was?

On a Sunday afternoon, I headed east towards the Garibaldina Society located in Highland Park. That’s where I encountered Pacific Opera Project’s most recent humorous production titled “Don Bucefalo” by Antonio Cagnoni.

n entertaining and absurdly humorous parody of Italian opera buffa from 1846 that became a sensation over the weekend. In fact, as director, designer, and founder of POP, Josh Shaw noted, these final performances this weekend might be your only opportunity to witness this opera.

Don Bucefalo” is intentionally cryptic, brimming with period inside jokes and bursting with wit, both subtle and overt. With an exceptional ensemble, Shaw transformed this into a raucous cabaret-style opera. Initially, POP appeared as a jest in 2011 – a nomadic troupe creating absurd operas in unexpected locations like the Highland Park Ebell Club, Forest Lawn Cemetery, and Occidental College. However, it has since garnered a substantial fanbase. Among its many achievements, POP presented important premieres, such as the first professional Los Angeles staging of Stravinsky’s “The Rake’s Progress,” which was penned in L.A. Last summer, Dvorak’s “Rusalka” was delightfully performed at Descanso Gardens.

However, “Don Bucefalo” may have never been more absurd than when it was presented within the Italian historical society established in 1877. The stage was arranged in a spacious room adorned with tables draped in red-checkered cloths. Here, attendees could enjoy pasta with meatballs and Italian wine alongside the performance.

The situation is quite absurd: the characters wear eccentric costumes, and the opera’s plot, featuring a composer struggling to stage a concert, is incredibly bizarre. A mediocre character named Don Bucefalo, along with other less-than-talented suitors such as a tenor, try to win over a young, recently widowed, semi-skilled soprano. The ensuing events are filled with musical and romantic turmoil. There are humorous references to Rossini and Mozart, and the composer jokes include a scene where this Don creates an aria reminiscent of PDQ Bach.

The biggest joke of all is on us. The music is actually quite good. The singers are too. As is the small chamber orchestra and the conductor, Kyle Naig. As Bucefalo, baritone Armando Contreras winningly overplayed the virtuoso farce, which was neither too lowbrow nor too highbrow. This will go down as one of the performances of the year.

Among the talented singer-comedians who surrounded me was Véronique Filloux, Eric Botto, Dominic Salvati, Joel Balzun, Erin Alford, and Mariah Rae. Each one of them brought their A-game when tackling roles that may never come their way again. In doing so, they truly embodied Sharon’s vision for L.A. opera – a refreshing break from the usual elite norms, pushing boundaries and making a big impact.

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2024-11-08 01:31

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