THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Sunday, January 28, 1996 TAG: 9601280138
SECTION: LOCAL PAGE: B4 EDITION: FINAL
TYPE: Music review
SOURCE: BY LEE TEPLY, SPECIAL TO THE VIRGINIAN-PILOT
LENGTH: Medium: 88 lines
Friday evening was one of those rare operatic experiences in which all, or almost all, of the many facets of the production work together with dramatic results. Indeed, any minor flaws in this performance were far outweighed by its combined strengths.
Rising to a higher level of operatic experience, the Virginia Opera gave its first performance ever of a work by Richard Wagner, ``The Flying Dutchman.'' Not only were the musical challenges met, the visual ones were, too. Through an ingenious set design and effective lighting, the stage of the Harrison Opera House was transformed into a Norwegian coast where two large ships meet in the night.
Soprano Dinah Bryant returned to Norfolk, having performed twice before with the Virginia Opera, to portray Senta, the young woman obsessed with the Dutchman's legend. Her intense retelling of this story, filled with musical and visual detail, was a convincing expression of the depth of her emotions. Throughout the evening, her voice was strong, easily reaching powerful high notes. Her softer singing rounded out her character, revealing a childlike love for and fascination with the Dutchman.
Making his American debut, Czech baritone Richard Haan handled with no problem the musical demands of the title role. His warm, darkly colored voice was well-suited to the part. He had less success as an actor, choosing to show only the Dutchman's world-weariness, and not his urgent need for acceptance and love. It was difficult to share his pain, despite his fine singing.
Tenor John Hurst also made his American debut. Although a Norfolk native, he has until now performed only in Europe and Asia. As the huntsman in love with Senta, he was her dramatic equal, repeatedly trying with both voice and gesture to convince her of his feelings and save her from her destiny. After a shaky start, he settled into the role, revealing a most pleasant tone. He unfortunately backed away from several high notes, but these were minor moments in a very strong performance.
The secondary characters were unusually well-cast. As Daland, Senta's father, bass Valentin Petchynov had both the control of a ship's captain and the uneasiness of an unmarried girl's father. His steersman, tenor Kevin Wines, sang his one aria with a bright tone and solid pitch. As Senta's nurse, mezzo-soprano Lou-Anne Drechsler-Payne combined a full sound with acting that supported the importance of her role.
This opera has, in effect, three choruses, all well prepared by Peter Pasztor. The Norwegian maidens had clear, light voices that nicely showed both their youthful joys and fears. Daland's crewmen sounded strong but needed a visit to a local ship to learn how to act like experienced sailors. Both groups had some trouble staying together in fast tempos. The Dutchman's crew, seen as frightening skeletons, was heard over loudspeakers. Or rather, it was not heard because the volume was not turned up enough to cover the orchestra.
Led by conductor Peter Mark, the Virginia Symphony players performed well, with only a few problems in some of the more treacherous string passages. The strings were often covered by the wind players, who were encouraged to overplay. Mark paced the opera well, with dramatic tempos on the fast side. While this was exciting, he rarely allowed the tempos to broaden at musical climaxes, thwarting the full potential of these dramatic moments.
The production's visual strengths were the work of scenic designer Hugh Landwehr and lighting designer Kent Dorsey. The elevated and steeply raked stage seemed to propel the sound and action directly into the audience, making the drama more immediate. While darkness surrounded much of the action, bursts of light created a stormy atmosphere.
All under the direction of Lillian Garrett-Groug, the staging matched the music to provide the unique dramatic experience of a Wagner opera. The pantomime during the overture was an effective introduction to the story and its characters. There was only one significant miscalculation. After the astounding appearance of the Dutchman's tattered vessel, there was so much fog on stage and over the audience that his entrance was nearly unseen. Instead, a beacon of light shone through the fog to direct all attention on the conductor.
Setting aside the few musical and dramatic weaknesses, the total production achieved Wagner's goals. All elements of the theater were united in one purpose - that of presenting the most compelling of musical/dramatic experiences. It is a rare enough achievement for any opera company, and one to be treasured by local audiences. ILLUSTRATION: Photo
KATHY KEENEY
Throughout the evening, Dinah Bryant's voice was strong, easily
reaching powerful high notes. Bryant, who has performed twice before
with the Virginia Opera, played the part of Senta, the young woman
obsessed with the Dutchman's legend.
by CNB