Jonathan Miller works with members of
The Glimmerglass Festival Young Artists Program
Photo: Karli Cadel/The Glimmerglass Festival.
Jacqueline Echols, who so charmed us in the Ruth Bader Ginsburg program, and also as the ingenue Giuletta in last season's King for a Day, sang Violetta. Mr. Miller frequently coached her to give less, less, ever less movement. A dying person has no energy, even for a wracking cough. And in truth, the more still Miss Echols was, the more effective she was. And when she was directed to actually stir about, that was more effective by contrast. As usual, Miss Echols sang with beautiful tone and musical expression.
Marco D. Cammarota, who had also impressed in the Ginsburg program, sang Alfredo. Mr. Miller also took great pains to coach Mr. Cammarota. Nobody knows what to do or say at a loved one's death bed, especially if it's the first time one has experienced such a loss. Under Mr. Miller's guidance, Mr. Cammarota gave us an Alfredo who was clueless but not weak.
|Photo: Karli Cadel/ The Glimmerglass Festival|
To add my own opinions to Mr. Miller's statement, our culture seems to forget that theater is about the willing suspension of disbelief. Today's audiences seem to demand blatant realism in some ways while at the same time tolerating, even celebrating, "concept" productions that bear no semblance to reality at all. (To be clear, there are updated or modified productions of operas that I have liked very much.) This seems to me to be a contradiction. I won't go on and on about post-apocalyptic Parsifals under freeway overpasses and Roberto Devereuxs in boardrooms, because I've made my opinions on such matters clear before. One hopes that in all these productions, the truth, the true feeling and meaning the composer and librettist intended, are evident, as one hopes the director who created such a concept is as skillful as Jonathan Miller was with these Young Artists.