Warning: I am not an independent, objective member of the audience here;
while I am not officially affiliated with either Washington National Opera
or Los Angeles Opera, I do know personally most of the cast and a lot of the
management of both companies.
I started writing this last night; reread and finished this morning after a
short night of Bajazet singing in my dreams:
I just got home from the LA Tamerlano, it's 12.45 in the morning, and
we're set to do it again in less than 48 hours. I could experience this
opera a thousand times and love it every time, it takes me back to my early
days in choral singing no, there's no chorus in Tamerlano, but there is
certainly a sizable chunk of Messiah lurking about. And the music is just SO
good.
The production is from Washington Opera, it came out here to be stored since
there's not enough room in DC to keep it, and while it's here....well,why
not take it out and let it play some more? With some alteration, some
tweaking - I think the floor is shinier, which makes for some interesting
double-vision, and little touches have been improved, modified, made better
dramatically. Thank Chas Rader-Shieber for that, he is the director and
quite a wonderful character himself.
The cast. In Washington we had David Daniels as Tamerlano; here Bejun Mehta
takes on the title role. It's different, yes, of course, any time you have a
different person sing a role you get a different result. I enjoyed David,
once I got over the idea that that voice was coming from that body. I didn't
have that issue with Bejun, there's no disconnect for me between the sound
and the visual. That is probably because by now I'm more used to
countertenors (I had never seen/heard one sing other than in concert prior
to the Tamerlanos in DC), or just that Bejun is to my eye not so flagrantly
sexual as David. It's a me thing, not anything for or against either
singer. They are both wonderful. Bejun seems to add a more sinister flavor
to the role, and that's a good thing, IMO. Tamerlano needs to be a strong
character, especially with Domingo as Bajazet, and either David or Bejun
makes a powerful title character.
Sarah Coburn is again Asturia. She has meanwhile, since the run in DC, had a
baby, who is now three months old, and IMO the voice is filling out and more
mature and formed than it had been. I liked her then, I like her as well if
not better now. There is a fullness to the voice that is lovely, and
promises good things to come. The coloratura is more secure than it was in
Washington, which I attribute to experience as well as the changes a baby
can make. I can hear a Lucia here, among other roles....we'll see what
develops with this very talented young lady.
Probably my favorite non-Placido participant in this is Patricia Bardon, the
mezzo, as Andronico. She can move like a man, she sings like a Goddess, and
I'm horribly jealous, I would give my....well, I don't know what, but
something very valuable....to be able to sing this role half as beautifully
as she does. The absolute best moment in the opera is the final act duet
between Andronico and Asturia there is that blending of sound that Handel
did so well but not so often they sing that if one is ready to die, the
other is content to do so as well, so long as they do it together. Not a dry
eye in the house.
I am amazed, as always, that there are so few moments in Tamerlano where
people actually sing together considering the many duets in Handel's
oratorios, here there are only the duet between Asturia and Bajazet (which
ought to be twice as long, IMO), and then the one between Asturia and
Andronico, at opposite ends of the third act. Both heart-rendingly
beautiful.
Jennifer Holloway as Irene is a strong member of the ensemble, as is Ryan
McKinny as Leone. These characters are more foils and catalysts than fully
formed individuals, but their scene in Act 2 is pivotal, and these two young
singers make the best of it.
And then there is Placido. What can I say about Placido? He called this,
jokingly, the Return of the Tenor. And I always thought Bajazet was a
baritone. Silly me. (There are no tenor high notes in the role, it rests
entirely in the baritone range, hence my perception.)
He has a cold. No announcement, and unless you know the voice intimately,
you'd never know it. And yes, singing Boccanegra has changed the voice, IMO.
Also in the opinion of Will Lacey, the conductor, and others who I've spoken
with on this subject. And what a wonderful change it is!
I have no idea when Placido found time to work on Bajazet. His schedule is
notoriously fuller than that of any three other people. But work on it he
has. His touch with this music is lighter now, the voice more supple, more
flexible. And it has opened up in some wonderful ways, the lower register
stronger and darker and more creamy than ever, and it's always been my
favorite part of that voice. The upper part of the voice is as always,
luscious. And it is seamless, bottom to top. His characterization is
powerful there is a majesty in his movements, in his attitude, and of
course in his singing. This is not just the Return of the Tenor, it is the
Return of the King. His pathos when thwarted at every turn is palpable; his
strength in responding to Tamerlano's threats and challenges is bittersweet,
as we know he loses in the end. Or does he? Does suicide constitute winning?
It does here, since it is he who is controlling his destiny.
The death of Bajazet is touted as being worthy of Otello we tossed that
around the other day, after the dress. How this opera would end with a
different Bajazet. Without Placido. It is he who makes the death so
poignant, so powerful. He makes the character of Bajazet larger than Handel
did, and larger than life. In his hands, the death scene IS worthy of
Otello.
There are four more performances. I don't have any idea of ticket
availability, the house looked packed this evening. Check online for
availability, or call the box office. If you can come, do. It's worth the
trip. And Wednesday after the show Placido will be signing things in the
lobby. If he can be persuaded to sit still long enough to do so....
And now I'm off to the Tar Pits - Ciao!
Siggy
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