Although separated by geography, the action takes place in the early 1900's.
In Paris it is La Boheme, a free wheeling kind of life, poor but full of love, the real love.
In the Midwest, there is a love, too. As a red line the aria "What is love" curses through the opera, but comes to mean different 'loves'. Love for God, love for sex, love for money, love for power...
The opera is ELMER GANTRY based on the book by Sinclair Lewis, which in turn may have been loosely based on the famous or infamous Aimee MacPherson, female evangelist. Lewis book was banned initially, thought to be anti- religion. In reality, he foresaw the detrimental effects of power hungry, money grubbing "delusional"(to be charitable) self-styled God-elected Leaders of Religion. Some of the book's and the opera's themes eerily echo events in the news lately!
Students at the University of Houston took on the challenges of this new American Opera, with it's towering, sometimes Wagnerian sounds, interspersed with delicately phrased lyrical passages. Moore's School Symphony Orchestra and members of the Concert Choral were outstanding, sounding bigger than their numbers suggested.
The young singers gave their all, in most cases a real good all!
Elyse Mendelson, essaying warmly and yet brightly the role of Sharon Falconer, evangelist, who has convinced herself to be a true believer;
Geleano Salas, portraying Frank Shallard, Gantry's friend, did so with a burnished clear sound and considerable talent even on the piano when he doubts his own beliefs as preacher.
And Alan Koziel, as Elmer Gantry, tried his best to inject the right tone, as a charming conman, who manages to get away unscathed.
Casey Finnegan as the Haji Binch, a New Ager, held his notes seemingly forever without gasping!
James Rodriguez, as Rev. Baines, used his deep base solemnly as suited to the role as head of the seminary.
Jack Beetle, as Eddie Fislinger, started a bit weak, but as the opera progressed he sang with more conviction and security, especially in the solo in Act 1, scene 6 when his jealousy and envy of Gantry takes over the initially pious sermon he is trying to write - a real highlight at the end of Act 1.
Throughout the opera we have rousing songs ('The OLD school' anthem, the Masonic Lodge song, the hymns/gospels sung and danced by Falconer's followers) which stirs the audience (almost) to jump up and march or dance along with them (some can be heard in the Florentine Opera's excerpts below, where it was performed in March).
A bit of humour injected at various points lightened a too fervent and at times pontificating libretto.
As usual the producer made excellent use of video projections in support of the rather sparse props.
While Gantry propounds on LOVE, during the training of the troops in preparation of the opening of the New Tabernacle building, a dollar bill is projected as the background to 'Las Vegas style' show business.
Gantry, although married to Falconer, rekindles of his 'lust' for Lulu Baines (now married to Fislinger) who uses her sex to entrap him.
Christina Boosahda's, as Lulu Baines, strident and shrill soprano (maybe the score called for just such a sound) was the only one that grated on my ears, although in the few lyrical pieces sung piano, her voice was bearable. The opera ends in a huge conflagration as the Tabernacle is consumed by flames due to electric overload, and Sharon Falconer refusing to be rescued, dies in the flames.
Burning in hell for their sins is suggestive of the end of Don Giovanni! Or of Gotterdammerung to stay with the Wagnerian sounding music ;-)!
Gantry escapes and looking for new ways to fleece fellow religious, follows the New Age preacher Binch off stage.
Tonight and Monday night the alternate cast in the principal roles
(Gantry
will be sung by, IMO excellent, baritone Gabriel Preisser-a formidable Don Giovanni earlier in the season!). Sunday afternoon will see the same cast as last night.It is NOT light fare despite the occasional touch of satire, and it may offend fervent religionists or people offended by strong language!
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