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| Susanna Phillips in "L'Amour de Loin" (photo: Metropolitan Opera) |
L'amour de Loin, the new Metropolitan Opera co-production with L'Opera de Quebec, in collaboration with Ex Machina, is newsworthy on several counts. The Music is by female Finnish composer Kaija Saariaho, the Libretto by Amin Maalouf, and it is performed under maestra Susanna Malkki in her Met Opera conducting debut. It was first produced at the Salzburg Festival in 2000, and is now being given its American premiere. A short opera (just over two hours), it consists of five brief acts alternating between Blaye in Aquitaine and Tripoli (modern Lebanon). It's a typically startling Production by controversial designer Robert Lepage, with some spectacular (and some not) lighting effects.
The love story, literally about “love from afar” in
the mid-twelfth century, is that of Jaufre Rudel (bass-baritone Eric
Owens), Prince of Blaye, who yearns for a distant love though
resigned to the unlikely reality that he will ever find it. A chorus
of his companions (under the direction of Chorus Master Donald
Palumbo) mocks him about this as he informs them that his true love
doesn't exist. However, a Pilgrim (mezzo Tamara Mumford) who has
arrived from overseas claims she does exist and that he has met her.
Jaufre then can't get her out of his mind. When the Pilgrim returns
to the East he tells the Countess of Tripoli, Clemence (soprano
Susanna Phillips), that she is celebrated in song by a troubadour
prince who calls her his “distant love”. She is at first
offended, then warms to the idea, but doubts she is worthy. The
Pilgrim returns to Blaye and tells Jaufre that Clemence now knows of
his singing, so he decides to visit her in person. Both have a sort
of approach-avoidance going on, his being so intense that he falls
ill on the ship he takes to meet her. He arrives in Tripoli dying.
The Pilgrim precedes him in order to inform Clemence that Jaufre has
arrived but that he is at death's door, on a stretcher. Their mutual
attraction revives him as they promise to love one another forever.
But forever is often not a long time in opera, and Jaufre expires in
her arms. Raging against heaven, and blaming herself for his tragic
end, she resolves to enter a convent. The final scene finds her at
prayer, ambiguously directing her words either to her distant God or
perhaps her far-out lover.
Despite its brevity, this work is a demanding challenge
for all three soloists, since they share together the bulk of the
singing (other than the choral work). Owens, who has impressed in
recent Wagner roles, makes a commanding presence, Mumford is suitably
intense, and Phillips has some lovely music to perform. Much of it
was repetitive however and not very memorable. The HD Host was the
ever-dependable Deborah Voigt, and the opera was Directed for HD
Broadcast by Gary Halvorson. The Set and Costume Design were by
Michael Curry, with Sound Design by Mark Grey, Lighting Design by
Kevin Adams and Lightscape Image Design by Lionel Arnould. Much of
the LED lighting was, after a while, a bit like contemplating one of
Boston's landmarks, the Citgo sign.
This was an unusual outing for the Met, but one that
will undoubtedly find an audience, given its theme, its rarity, and
above all the often approachable musical composition. Perhaps a
concert version without so many visual distractions might help. It's
a bit too premature, given one hearing, to say with certainty, but it
may deserve to find a place in the company's repertoire. And maybe
not.
“L'Amour
de Loin” will be rebroadcast Weds. Dec. 21 at a theater near you.
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