Socrate / A Last
Goodbye, review by
Ed Tapper
EDGE Contributor
Wednesday May 21, 2008
Presenting chamber versions of operas in an intimate setting, Intermezzo unearths several operatic rarities, as well as commissions new vocal works by contemporary composers, many from the Boston area. Last weekend, at MassArt’s Tower Auditorium, the group performed two one-act operas that could not have been more different from each other. One thing they shared in common was that, in both, the main characters were gay.
The first was "Socrate" by Satie, which had its Boston staged premiere with these concerts. The French composer encapsulates the life of the Greek philosopher in three tableaux, the last and most lengthy being the chronicle of Socrates’ death in prison. Described by Satie as a symphonic drama, the work was nonetheless conceived on a small scale, having been premiered at the home of the legendary chanteuse Jane Bathori.
It is written in Satie’s unique, post-Impressionist style. Musically, the work is sparser and more arid than Debussy, yet still far from Modernism. It calls for a small orchestra and limited number of singers. The text is treated syllabically, with one note per word, and chanted consistently in the middle register of the voices, over a repetitive, chordal accompaniment. Intermezzo used two singers, a mezzo and a tenor, for the vocal parts. The work was sung in an English translation fashioned by Virgil Thomson, and employed a piano reduction for the accompaniment, rather than a chamber orchestra. Immediately, Satie’s characteristic, haunting simplicity was evident. Yet, the musical style was unvarying. There were some lovely gestures; but the melodies, harmonies, and accompanimental figures became repetitive and static, and, after nearly 40 minutes, dull.
Given a limited budget, Intermezzo made a strong case for "Socrate." Brian Price’s ingenious staging suited the work to perfection. Opting for projected images, and mime to suggest the action, he placed the singers at podiums in the foreground. As the vocal lines are much in the manner of talky recitative, this idea worked nicely. Enacted behind a white curtain, the mime was back-lit, creating shadows which evoked Classical Greek vase painting. The singers were fine, with Aaron Sheehan’s refined, tenor sound well- suited to the part of Socrates. Hillary Nicholson used her rich mezzo voice to create the other roles in the opera. Music director James Busby provided superb, nuanced accompaniments. Subtle as it was, his playing could not replace Satie’s orchestrations, which would have given "Socrate" warmer, and more varied sonorities.
Commissioned by Intermezzo of composer Charles Shadle, "A Last Goodbye," occupied the second half of the program. The work is set in Cambridge, MA, where a straight couple, Carrie and Ned, is being assisted by gay friends in breaking down the home of Carrie’s deceased aunt. Many years back, Carrie had been engaged to Robert, who is now happily partnered to Stephen. As the love rectangle ensues, Robert realizes he is actually in love with her, and begs Carrie to stay with him. Come on, guys! The concept of a happy gay relationship being threatened by the presence of a woman is a plot twist out of a bad cable-TV flick. The implication is that a gay man who has been out for some time will dump his lover to go back to his old college girlfriend. Bullshit! The idea is dated, homophobic and offensive. Sure, it could happen; but we really don’t want to know from it, thank you!
And the work took itself far too seriously. It was encumbered with a pretentious, somber tone. The nearly 40 minutes of dissonant chatter made for a musical sameness that had a similar effect to the Satie piece-- boredom. As we really knew nothing about the characters in question, their relationship problems seemed trivial. When the dramatic climax of the work is a tea party, you know you’re in trouble. The music was not without craft, and the one ensemble, a trio towards the end of the work, was artfully conceived. The libretto of John Ouellette had some witty touches, with a few dashes of local humor.
All of the singing was excellent. Intermezzo founder and director John Whittlesey assumed the role of Robert. His luxurious baritone is in great condition, and he sang the music with conviction. As his lover, Stephen, Jason McStoots was equally impressive. His silken, tenor voice, and clear diction were a delight to hear, particularly in his one solo song. Boston regulars Ray Bauwens and Gale Fuller played the straight couple. Seasoned vets of the opera stage, they made the most of what they were given to sing. Both possess voices scaled to a much larger stage, and they sounded most opulent.
Despite the problems with the music in both operas, "Socrate" and "A Last Goodbye" were worth a listen. Intermezzo is to be commended for continuing to uncover operatic rarities, and stimulating local composers to write in the genre. If you get tired of all the "...Bohemes" and "Barbers of Seville," check out their productions. They resume in the Fall with a rarely performed work by a gay composer, Benjamin Britten -- his "Prodigal Son." For ticket/ concert information, phone: 617-899-4261.
EDGE Contributor
Wednesday May 21, 2008
Presenting chamber versions of operas in an intimate setting, Intermezzo unearths several operatic rarities, as well as commissions new vocal works by contemporary composers, many from the Boston area. Last weekend, at MassArt’s Tower Auditorium, the group performed two one-act operas that could not have been more different from each other. One thing they shared in common was that, in both, the main characters were gay.
The first was "Socrate" by Satie, which had its Boston staged premiere with these concerts. The French composer encapsulates the life of the Greek philosopher in three tableaux, the last and most lengthy being the chronicle of Socrates’ death in prison. Described by Satie as a symphonic drama, the work was nonetheless conceived on a small scale, having been premiered at the home of the legendary chanteuse Jane Bathori.
It is written in Satie’s unique, post-Impressionist style. Musically, the work is sparser and more arid than Debussy, yet still far from Modernism. It calls for a small orchestra and limited number of singers. The text is treated syllabically, with one note per word, and chanted consistently in the middle register of the voices, over a repetitive, chordal accompaniment. Intermezzo used two singers, a mezzo and a tenor, for the vocal parts. The work was sung in an English translation fashioned by Virgil Thomson, and employed a piano reduction for the accompaniment, rather than a chamber orchestra. Immediately, Satie’s characteristic, haunting simplicity was evident. Yet, the musical style was unvarying. There were some lovely gestures; but the melodies, harmonies, and accompanimental figures became repetitive and static, and, after nearly 40 minutes, dull.
Given a limited budget, Intermezzo made a strong case for "Socrate." Brian Price’s ingenious staging suited the work to perfection. Opting for projected images, and mime to suggest the action, he placed the singers at podiums in the foreground. As the vocal lines are much in the manner of talky recitative, this idea worked nicely. Enacted behind a white curtain, the mime was back-lit, creating shadows which evoked Classical Greek vase painting. The singers were fine, with Aaron Sheehan’s refined, tenor sound well- suited to the part of Socrates. Hillary Nicholson used her rich mezzo voice to create the other roles in the opera. Music director James Busby provided superb, nuanced accompaniments. Subtle as it was, his playing could not replace Satie’s orchestrations, which would have given "Socrate" warmer, and more varied sonorities.
Commissioned by Intermezzo of composer Charles Shadle, "A Last Goodbye," occupied the second half of the program. The work is set in Cambridge, MA, where a straight couple, Carrie and Ned, is being assisted by gay friends in breaking down the home of Carrie’s deceased aunt. Many years back, Carrie had been engaged to Robert, who is now happily partnered to Stephen. As the love rectangle ensues, Robert realizes he is actually in love with her, and begs Carrie to stay with him. Come on, guys! The concept of a happy gay relationship being threatened by the presence of a woman is a plot twist out of a bad cable-TV flick. The implication is that a gay man who has been out for some time will dump his lover to go back to his old college girlfriend. Bullshit! The idea is dated, homophobic and offensive. Sure, it could happen; but we really don’t want to know from it, thank you!
And the work took itself far too seriously. It was encumbered with a pretentious, somber tone. The nearly 40 minutes of dissonant chatter made for a musical sameness that had a similar effect to the Satie piece-- boredom. As we really knew nothing about the characters in question, their relationship problems seemed trivial. When the dramatic climax of the work is a tea party, you know you’re in trouble. The music was not without craft, and the one ensemble, a trio towards the end of the work, was artfully conceived. The libretto of John Ouellette had some witty touches, with a few dashes of local humor.
All of the singing was excellent. Intermezzo founder and director John Whittlesey assumed the role of Robert. His luxurious baritone is in great condition, and he sang the music with conviction. As his lover, Stephen, Jason McStoots was equally impressive. His silken, tenor voice, and clear diction were a delight to hear, particularly in his one solo song. Boston regulars Ray Bauwens and Gale Fuller played the straight couple. Seasoned vets of the opera stage, they made the most of what they were given to sing. Both possess voices scaled to a much larger stage, and they sounded most opulent.
Despite the problems with the music in both operas, "Socrate" and "A Last Goodbye" were worth a listen. Intermezzo is to be commended for continuing to uncover operatic rarities, and stimulating local composers to write in the genre. If you get tired of all the "...Bohemes" and "Barbers of Seville," check out their productions. They resume in the Fall with a rarely performed work by a gay composer, Benjamin Britten -- his "Prodigal Son." For ticket/ concert information, phone: 617-899-4261.