SEEN AND HEARD INTERNATIONAL

Carlisle Floyd: Susannah: Soloists, Euskadiko Orkestra Sinfonikoa, Coro de Ópera de Bilbao. Conductor: John Mauceri. Palacio Euskalduna de Bilbao. 16.10.2010 (JMI)

Production: Lyric Opera Chicago and Houston Grand Opera.

Direction: Robert Falls (Original), Ignacio García (Revival)

Sets and Costumes: Michael Yeargan

Lighting: Bogumil Palewicz

Cast:
Susannah: Latonia Moore

Olin Blitch: James Morris

Sam: Stuart Skelton

Little Bat: Cosmin Ifrim

Elder McLean: Miguel Sola

Elder Gleaton: Vicenç Esteve

Elder Hayes: José Ruiz

Elder Ott: Richard Wiegold

Mrs. McLean: Silvia Beltrami

Mrs. Gleaton: Jessica Julin

Mrs. Hayes: Julia Faulkner

Mrs. Ott: Mette Ejsing
 

Caption – Production Picture © E.Moreno Esquibel
 

ABAO—the Asociación Bilbaína de Amigos de la Ópera—brings Carlisle Floyd’s opera Susannah not just to Bilbao, but to Spain for the first time. This opera premiered in 1955 in Florida and has since run continuously in the US. It must be the second most performed opera by an American composer after Gershwin’s Porgy and Bess. Susannah was premiered quite early in Europe when it was offered in Brussels on the occasion of the World Exhibition of 1958. Afterwards, I know of some performances in the 90s in Berlin and Nantes, performances at the Wexford Festival as late as 2005, and most recently in England by the English Touring Opera about two years ago.

It is a very American opera, with the action taking place in the South of United States, in a very rural community, and in some way it reminds of the subject of Peter Grimes: the confrontation of the protagonist and the community that rejects him. It is an interesting opera and it was high time to offer it in this country.

The stage production, originally directed by Robert Falls, is well known. It premiered in Chicago in 1993 and later could be seen at the New York MET in 1999. It serves the plot well, with quick changes of scenes thorough the use of stage modules. The weakest part of the production is lighting, more than once working against the libretto... and the chorus’ movements were occasionally awkward. The stage direction in Bilbao was executed by Ignacio García, who has followed the line of Robert Falls faithfully.

The musical direction has been entrusted to John Mauceri, an expert and veteran American conductor not very active in opera during the last years. I was disappointed with the excess of orchestral volume coming from the pit, seriously hampering how the voices reached the auditorium. On top of it, the balance between orchestral groups was off and the performance ended up sounding more as if it were a concert rather than an opera performance. Still, the reading was full of life, drama and pace, which, if the voices were less important in Susannah, might have saved the day.

The American soprano Latonia Moore sang the part of Susannah. No doubt the score offers great moments to her, among them two beautiful arias. It is not surprising, therefore, that the crème de la crème of American sopranos has sang the part in the past. Latonia Moore’s voice is very well suited containing great beauty and remarkable expressiveness. She has no problem with the score, except that the very few very top notes were a bit tight. Just enough to encourage the necessary suspension of disbelieve when it comes to her stage presence and the need to convey lithe Susannah’s envy-arousing beauty.

Aficionados identify Reverend Olin Blitch with Samuel Ramey, but he is now a shadow of his great past. James Morris is, in principle, a bass-baritone similar to the great Ramey, but he is also far from his best and he disappointed as Olin Blitch. His voice has become small in the middle range, barely reaching the audience. It is difficult under these circumstances to be a visionary and menacing Preacher. If we add to this the lack of support from the pit, there was little left of the great singer from some years back.

Sam Polk, Susannah’s brother, was Stuart Skelton, who gave an outstanding performance. This is not a part for a light tenor, but it needs a powerful voice and the Australian was most appropriate for the character. It was a successful debut in Bilbao.

In the secondary parts Cosmin Ifrim’s and her rather small voice made for a good “Little Bat”, all the rest—Elders and their wives—fulfilled their task well enough.  Carlisle Floyd, who attended the performance, received the warmest reception from the crowd in the sold-out Palacio Euskalduna.

José M Irurzun