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<\/a>Jarrett Ott (John Seward on left), Anthony Roth Costanzo (Dionysus in center wearing gold) Matt Boehler (Van Helsing on right). Photos by Curtis Brown.<\/p><\/div>\n
John Corigliano\u2019s first opera \u201cThe Ghosts of Versailles\u201d was such a daunting and unpleasant experience that he vowed never to write opera again. That commission from the Metropolitan Opera premiered 30 years ago. However, his life partner, opera composer Mark Adamo, persuaded him to reconsider when Adamo offered to write the libretto. The felicitous result is \u201cThe Lord of Cries,\u201d commissioned by Santa Fe Opera. The company has delivered a stellar production of the exciting opera with a cast of exceptional voices.<\/p>\n
<\/a>The Three Odd Sisters – Leah Brzyski (Agave), Rachel Blaustein (Autonoe), Megan Moore (Ino)<\/p><\/div>\n
\u201cThe Lord of Cries\u201d is an unusual melange of two literary works written two millennia apart. The more recent is Bram Stoker\u2019s \u201cDracula,\u201d which has been used as the basis for operas before, but none have entered the repertoire. Adamo concludes that Stoker must have known the other contributing piece, Euripides\u2019s \u201cThe Bacchae.\u201d Despite their divergent natures, the two share commonalities that are unlikely to be random. \u201cThe Bacchae\u201d\u2019s Dionysus exerts religious control over Thebes. \u201cDracula\u201d antagonist Dr. John Seward exercises life control over the inmates of the Carfax Asylum as well as ownership of Carfax Abbey. Dionysus and Dracula both use disguise and are supported by violent women \u2013 the Bacchantes for the former and the Three Odd Sisters for the latter. Finally, in each source, a character in a crazed mental state mistakenly parades a decapitated head, not realizing it is someone dear to them.<\/p>\n
The story of the present opera takes place in Victorian London at the fearsome time of Jack the Ripper. In Adam Rigg\u2019s somewhat simple scenic design, back walls are aflush in pink-orange, and the stage is studded with lampposts, reflective of the era. Rather than traditional black, they are of the same coloration as the walls, creating a less conflicting canvas for Chrisi Karvonides-Dushenko\u2019s varied and often distinctive costumes.\u00a0 Adam Larsen’s projections enhance the backdrops and provide revelatory lupine shadows in the denouement.<\/p>\n
Distinguished countertenor Anthony Roth Constanzo is Dionysus, who travels over time and space and becomes Dracul, The Count. He intends to reclaim the glade on which stands Carfax Abbey, now under the control of Seward. Dracul vows to punish those who do not accept his ownership over the property. This role was written for Constanzo\u2019s voice, and it couldn\u2019t be a finer fit. His range and versatility of voicings with considerable dark edge is remarkable, and he is adept in handling the androgonous nature of his characters.<\/p>\n
<\/a>Kathryn Henry (Lucy Harker), Jarrett Ott (John Seward), David Portillo (Jonathan Harker), Matt Boehler (Van Helsing).<\/p><\/div>\n
As Dracul\u2019s obstacle, Seward is obstinate. Jerrett Ott portrays and sings Seward with equal authority. Decisive and demanding in his public persona, he repeatedly defies demands to forfeit the property to Dracul, despite evidence of a deed of ownership that the stranger holds. A long soliloquy reveals Seward\u2019s insecurities and his passion for Lucy, wife of inmate and childhood friend Jonathan Harker, who has learned that Dracul is coming. The doctor\u2019s role also calls for great vocal range, and the baritone conveys rich tone and powerful emotion.<\/p>\n
Vocals are demanding throughout the cast, with most artists required to be both lyrical and highly emotional, and an appropriate tremulousness occurs in the voices of several. Kathryn Henry, a member of the Apprentice Program, was a late stand-in to take on the important role of Lucy, and her performance is indicative of how outstanding the apprentices (misnamed?) are. She is equally adept at the mellifluous and the harshly dramatic voice in her ecstasy duet with Seward and her screaming soliloquy. David Portillo, the tenor playing Jonathan, captures the character\u2019s terrified mindset with high pitched howling.<\/p>\n
A controversial element in \u201cThe Lord of Cries\u201d is the use of a narrator, orated with gravitas by Kevin Burdette. Many feel that telling what has happened rather than showing it weakens drama, but that is not always true. In the Victorian era of backstreet murders, newspapers spread the word (and the fear), so the use of a \u201creporter\u201d in these circumstances works well. And there are plenty of bristling moments in the sung portions otherwise.<\/p>\n