The One-of-a-Kind Santa Fe Opera
It’s been my great, good fortune to have seen the entire Santa Fe Opera season, and to my mind (recall that yours truly is an opera enthusiast not a music critic), Mr. McKay and company saved the best for last! The programming has been so thoughtful and creative, opening the summer season with the tried-and-true crowd pleasers, and then moving on to the more unusual offerings. Certainly an opera by a Polish composer sung in Polish by a Polish baritone qualifies as unusual. And more to the point, it’s stunning!
Crisis in the Court of King Roger; Photo by Ken Howard
Karol Szymanowski’s King Roger was so good that I had to see it twice and wouldn’t hesitate to see it yet again if the opportunity presents. Following the premiere of Rossini’s riveting Venetian drama Maometto II by a week, the opera is set in the same Byzantine era of Italy, this time in Sicily, and the casting was perfection. The incredibly rich voice of Mariusz Kwiecien in the title role anchored this unique offering with heft and clarity. The story line suited Santa Fe well, as it is a tale of the conflict between earthly duty and spiritual longing, a very City Different dilemna. Roger’s kingly realm is challenged by the appearance of The Shepherd, artfully sung and acted by tenor William Burden, who offers the kingdom a Dionysian life of carefree joy, ultimately leading away not only Roger’s subjects, but also his beloved queen.
A King and His Queen; Photo by Ken Howard
Erin Morley is vocally thrilling as Queen Roxana, believable in appearance and blessed with a beautiful voice. The role of Roger’s counselor, Edrisi, loyally committed to protecting his king, is clearly covered by Dennis Peterson. And I loved seeing Raymond Aceto, who is terrific as the villainous Scarpia in SFO’s current Tosca, appearing here as the Archbishop…nice switch from devilry to devotion! The orchestra? Just superb under the talented baton of Evan Rogister, who we hope will return to Santa Fe in seasons to come. While it’s puzzling indeed that this opera has languished through the years, we’re lucky and grateful that it came to the stage in Santa Fe!
Pomp and Circumstance; Photo by Ken Howard
The last entry on the Opera’s “dance card” is Richard Strauss’ Arabella, a thoughtful and welcome acknowledgement of founder John Crosby’s favorite composer. This was 2 1/2 hours of sublime music, not heard on the Santa Fe stage since 1997, and a treat for Strauss-lovers like me, who have had to wait since 2007 to hear that big complex orchestration. Although librettist Hugo von Hofmannsthal passed away before he finished this poetic tale, leaving Strauss himself to hold it together, as the Opera’s General Director Charles MacKay told me, “The music is so luscious, I sometimes forget to look at the words.” The lively conducting of Sir Andrew Davis certainly made that happen to me!
Arabella and Mandryka; Photo by Ken Howard
The role of Arabella, marriage fodder for the financial hopes of her family, is sung by Erin Wall, last seen in Santa Fe as Strauss’ Daphne, and she unerringly handled the demands of a Strauss soprano. As Arabella’s successful suitor, the burly land baron Mandryka, Mark Delavan threw himself into the role, both vocally and dramatically. The Count and Countess Waldner, Arabella’s parents, are ably sung by Dale Travis and Victoria Livengood. And Brian Jagde, who bravely stepped into the role of Cavardossi in Tosca this summer at the last minute, sings the part he actually came for, that of Count Elemer, egotistically convinced that his wooing of Arabella is a fait accompli.
“Zdenko” Gets Her Man, Eventually; Photo by Ken Howard
Heidi Stober is touching and convincing in the pants role of Zdenka, Arabella’s sister who is forced by family misfortune – oh, the costs of “bringing out” a Viennese daughter – to live life as a boy, of course named Zdenko. In his SFO debut, Zach Borichevsky ardently sings the role of Matteo, Arabella’s youthful suitor, who accidentally wins the hand of the other sister, so obviously in love with him, suit and tie notwithstanding! Kiri Deonarine sings the intense role of Fiakermilli, quite a feat without any first act lines for warm up. Apprentices Suzanne Hendrix, Chrsitian Saunders, Jonathan Michie, Joseph Beuatel, Ryan Milstead, Matthew Newlin and Edwin Vega fill out the cast with verve.
Give Yourself this Joy of Opera; Photo by Ken Howard
Every one of my opera experiences this summer left me wide-eyed, and I have to agree with Arabella herself who sang, “I lie awake, unable to sleep for sheer happiness.” Give yourself that gift, and see one of these five terrific productions. Or better yet, if you can, see them all!
