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Porgy's got plenty o'nuttin' Musa Ngqungwana with Justin Austin as Jake Photo: Karli Cadel/The Glimmerglass Festival |
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Bess struggles to free herself from Crown Talise Trevigne and Norman Garrett Photo: Karli Cadel/The Glimmerglass Festival |
Visually, this production is stunning. (Sets by Peter J. Davison, Costumes by Paul Tazewell, lighting by Mark McCullough.) One is struck from the beginning by how much this Catfish Row looks like a prison, with two tiers of doors that resemble cell doors. Interiors were represented by set pieces that rolled in and out smoothly. Kittiwah Island had the feel of a dilapidated seaside amusement park. Costumes were also beautiful--drab tones for everyone except Bess and Sportin' Life, although Bess dressed much more conservatively when she was living with Porgy. Everything period-appropriate, nothing surprising. Lighting effects both subtle and dramatic were very well done. And once again I praise the choreography of Eric Sean Fogel.
Conductor John DeMain has a very long history with this work, so one wondered why at times he seemed at odds with the orchestra, seeming to struggle to bring them to the brisk tempi he wished to use. It could be because this was the second performance of the season, and six days had passed since the first.
It seems almost compulsory to discuss Porgy's history and its reception politically and socially. Based on DuBose Heyward's novel and play Porgy, the opera premiered in 1935 on Broadway, and had varied success in subsequent revivals, including worldwide tours sponsored by the US Department of State. The work fell out of favor in this country for decades, with some groups and individuals criticizing the story's racial stereotypes. A 1976 Houston Grand Opera revival (also conducted by John DeMain) was influential in bringing the piece back into the public eye. Separate 2006 and 2011 adaptations called The Gerswhins' Porgy and Bess sought to adapt the work for the conventions of the Broadway musical. (Stephen Sondheim publicly criticized the new title for discounting DuBose Heyward's role in creating the opera.) The current production is a new production, faithful to Gershwin's conception of the piece as a folk opera.
Once again, I call this a triumph, and I highly recommend seeing it if you can get a ticket. Many performances are sold out, so that might be difficult!
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The picnic on Kittiwah Island Photo: Karli Cadel/The Glimmerglass Festival |
*This is the third production I have witnessed--it's not that common to have seen even one. The other two were at Charlotte Opera and Greater Miami Opera, as the two companies were called in the Dark Ages.
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