Christopher Burchett, Caroline Worra, Marcus Farnsworth & Amanda Crider in "Greek" (photo: Liza Voll) |
Boston Lyric Opera, in a change of pace and venue, is
presenting a twentieth century operatic work at the Emerson Paramount
Center, the controversial Greek by Mark-Anthony Turnage. The
composer's first opera, written when he was only 28 years old, it
premiered in 1988 in Munich (after he was at first a composition
fellow at Tanglewood under Hans Werner Henze, who arranged a
commission for him back in Germany). This BLO mounting is its first
major U.S. production. With Music by Turnage and Libretto by Turnage
and Jonathan Moore, adapted from the verse play of the same name by
Steven Berkoff (a prolific film actor, known for such roles as the
James Bond villain in Octopussy), the opera is based on the
Sophocles story of Oedipus, who unwittingly fulfills the prophecy of
an oracle that he will marry his mother and kill his father and, when
he learns the truth, puts out his eyes in despair. This protagonist,
Eddy (baritone Marcus Farnsworth), rather than feeling any shame,
revels in his passion, acting out of craftiness and ambition. As the
program notes describes it, the libretto shows his ambivalence
between duty and love, jealousy and passion, paternalism and
eroticism. It takes place in 1980's London at the height of the
Margaret Thatcher era, with its own plagues of unemployment, riots
and political unrest. The arts especially suffered under her, pushed
to be profitable and self-sufficient, relying more on corporate
sponsorship, with an emphasis on greed, bourgeois reactionary tastes
and values, worship of capitalism, narrow-mindedness and unyielding
conservatism. As the program also notes, all of this upheaval was
certainly operatic. Needless to say, it resonates even more
profoundly in light of our recent national election.
In this work, four singers and four actors perform all
the roles (Farnsworth plays only the role of Eddy) in a series of short
scenes, not unlike a movie (aided by scenery that cleverly produces
cinematic effects such as quick dissolves). Those other singers are
soprano Caroline Worra, mezzo-soprano Amanda Crider and baritone
Christopher Burchett. One first hears the rhythm of chant heard at
every soccer game, a kind of motif in the whole opera. Subsequently
the music alternates from short and brutal segments to other longer,
poetic, even lyrical passages from the 18-member orchestra (with no
violins but cellos, bass, woodwinds and soprano saxophone). One
hears homages to Stravinsky and Kurt Weill, echoes of jazz and 70's
rock, with harsh sounds alternating with lyrical music (such as the
haunting Act Two duet between Farnsworth and Crider about the passing
of time), and using unusual percussive instruments including trash
cans, police whistles, riot shields and brake drums. The effect may
have been jarring for audiences when it was newly performed, but
sounds far less controversial in our own time. Even the libretto,
considered scandalous in its day, seems relatively tame by today's
standards.
For
a taste of the libretto, consider these examples. Eddy exclaims: So
I run back, I run and run and pulse hard and feet pound, it's love I
feel, it's love, what matter what form it takes, it's love! And:
I want to climb back inside my Mum. What's wrong with that?
It's better than shoving a stick of dynamite up someone's arse and
getting a medal for it. And
this exchange between father and son: Dad:You don't fancy
your Mum, do you son? You don't want to kill me, do you boy? Eddy:
Fancy my Mum? I'd rather go down on Hitler. Well,
you get the picture.
This performance of the piece moved swiftly, in no small
part due to the outstanding work by all four singers with such
challenging demands. The same could be said for the orchestra,
deftly led by Conductor Andrew Bisantz. And Farnsworth and his
costars even manage the cockney accents with ease and frequent humor,
under Stage Director Sam Helfrich. John Conklin's Set Design was
crucial, aided by the Lighting Design by Chris Hudacs, and the
Costume Design by Nancy Leary perfectly captured the look of the era.
This may not ever be considered among one's favorite
operatic works, but it remains a very engaging and rewarding work
that deserves to be seen by any serious opera buff. It's a compelling
portrait of Eddy's hedonistic complex as part of a larger global
miasma of social change. As Sophocles himself wrote: Live,
Oedipus, as if there is no tomorrow. Amen.
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