Bellini’s
La Sonnambula
Met
- April 1, 2014
I
have never seen Bellini’s La Sonnambula performed “straight,” that is to
say, in a traditional way, but I suspect I may find it flat after having
discovered this opera through Mary Zimmerman’s production when it
premiered in 2009. This was my third time seeing it and I continue to like it
quite a lot, especially since it fleshes out and refreshes an otherwise pretty
linear and not particularly exciting or dynamic story, all while expanding on
its themes.
Diana Damrau stars as the star of the show Photo credit: Marty Sohl |
The
plot is very simple: village boy and girl are about to get married. Girl
happens to be a sleepwalker and ends up in the bed of another man. Boy throws a
jealous fit and calls off the wedding. Girl is heartbroken because she did not
do anything wrong and really, really loves boy. Once the sleepwalking
misunderstanding is cleared up everybody returns to their lovey-dovey selves
again and all ends well.
The dreamer on set at rehearsal Photo credit: Marty Sohl |
Zimmerman
stages Bellini’s work in the rehearsal room of an opera company preparing a La
Sonnambula performance. The production notes tell us that the story,
actions and characters of the village are all coincident with those of the
rehearsal room. This blurred line between reality and art (that is itself
double faced – “rehearsal” vs. “Met” performance) raises questions of what is
art and how life is influenced by it and vice versa. Since there is no distinct
difference between the two, the viewer is kept wondering if she is seeing the
opera or “real life.” This riffs on other contrasting themes of the original
opera, such as the different perceptions of the same reality by the “awake” and
the “sleepwalker” and the tension between what you see and what you believe. In
many ways, the public of Zimmerman’s production experiences the same doubts and
confusion of the opera’s characters, not knowing whether to fully believe what
it sees is part of the show or part of the characters’ reality.
The chorus rebels Photo credit: Richard Perry, NYTimes |
Among
the several hilariously entertaining bits, I particularly liked the anarchic
frenzy at the end of act one when the chorus members/villagers think Amina has
been spending the night with the count. They all give up on the rehearsal and start
trashing costumes and destroying scores, even trying to pull the prompter’s
(and the prompter himself) out of the hole, as if to say “if this is the way
things are going we don’t like it and we don’t want to be a part of it anymore!
We want chaste virtuous Adina, not this double-faced trollop!”
Diana Damrau dreams Photo credit: The Metropolitan Opera |
Diana
Damrau
carried the show, being there and having fun, showcasing great acting and sense
of humor – she even cartwheeled in the finale and at curtain call! Her singing
was sensational, with light trills, piercing pure sound, ranging from the
sweetest tone to the more cheerful energetic bel canto – just they way a
coloratura soprano should be (though she can also do Verdi pretty wonderfully
too).
Tenor
Taylor Stayton was disappointing, even more so because the 2 prior times
I saw this opera Alvino was played by Juan Diego Florez (who is perfect for
this type of role). Stayton’s Alvino was shrill, lacked warmth and
expressiveness and even his acting was bland – really showing that bel canto
should either be done right or not at all.
Michele Pertusi and Rachelle Durkin share an intimate moment Photo credit: The Metropolitan Opera |
Baritone
Michele Pertusi as Count Rodolfo was solid, with commanding acting and a
warm, deep sound. Soprano Rachelle Durkin was an awkward and goofy Lisa
but her slapstick acting worked with the character and all in all sang well.
La
Sonnambula showcases
the chorus way more than other bel canto operas and the Met chorus really
shined, not only with great singing, but also having fun with Zimmerman’s
production and playing a key role in emphasizing the theater within the theater
side of it.
Damrau dances a joyful jig Photo credit: Jonathan Tichler / The Metropolitan Opera |
The
finale is an uplifting celebration of all the confusion that has just
transpired. Everybody ends up in costume as though they’ve finally stepped out
of the rehearsal room onto the “real” Met stage to perform the show they’ve
been preparing for. Except, in the very moment that all the different realities
are meant to collide, the scenery breaks up and the illusion of the rehearsal
room and the Met stage is laid bare. All is dream, all is reality.
– Lei & Lui
Evvivan gli sposi! Photo credit: Jonathan Tichler / The Metropolitan Opera |
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