Final Thoughts

That was a fun night. I learned a lot (about opera, downtown Portland) and ultimately had a great time. The show runs at approximately 2 hours and 5 minutes, but it went fast! (That is a GOOD THING!)

The production concept is unique, fresh, and inspiring. Focusing on love and marriage, the director, Nicholas Muni, seamlessly weaves three seemingly unrelated operas into one cohesive production. Separated by almost 350 years, these operas not only warn about relationships, but together, celebrate the art form of opera itself. I can’t speak for Claudio Monteverdi or Leonard Bernstein, but I LOVED it.

Claudio Monteverdi is an Italian composer whose works are often regarded as the music transitions of the Renaissance to the Baroque period. He also wrote one of the earliest operas, L’Orfeo.

Monteverdi’s IL BALLO DELLE INGRATE (The Dance of the Ungrateful Women) depicts a troubled Cupid (Jennifer Forni) whose arrows no longer work on mankind. In fact, mankind mocks the very idea of love. This situation leads to him begging his mother, Venus (Daryl Freedman), to ask Pluto (Jeffrey G. Beruan) to release the Ungrateful Dead and thus allowing the human race to view the true power of agony.

The costumes helped give this opera a semi-modern vibe. Cupid was dressed in a zoot suit and adorned with the traditional wings. While Venus wore a gorgeous gold gown and sipped a Martini. These were both bold choices and alone in this opera would’ve failed, but it worked in the broader picture of the evening. There were a few chuckles heard during this opera, mostly to the actor’s reactions to each other, but I think it is easier to laugh at the garishness and over-the-top manner of Greek gods. This was an excellent choice to start off the evening, given that everyone can relate to Cupid in the realm of “love and marriage.”

The transition between these operas was wonderful. As the Ungrateful Dead emerge into the world, one of the males among them becomes the narrator (Steven Brennfleck) for the second opera.

Monteverdi’s IL COMBATTIMENTO DI TANCREDI E CLORINDA (The Battle of Tancredi and Clorinda) takes a more tragic look at the topic when two lovers (Tancredi and Clorinda) meet on the battlefield during the First Crusades. The two warriors fight on opposite sides of the Christian/Islam battle. The female (Clorinda) is in disguise and not until the fatal blow is dealt, does Tancredi realize he has killed his beloved.

This opera was slower than the first. While the battle raged in the background, a second plot line took place between the narrator and a female from the Ungrateful Dead. At one point, the female had a gun to his head, while he depicted this fairytale. I am not sure what they were going for. I am assuming the Narrator and this female were engaged in a relationship at some point and this relationship was a tragic tale, but that is just my guess. I enjoyed the story, but this was the one moment in the whole night that I felt completely lost. However, I still enjoyed the opera, so I suppose that says something good about the execution. If you can be lost, but still having a great time that is a successful thing.

The use of the projection screen in this opera was better than the first. The projection screen basically projected an image or images on the entire set. These images enhanced the opera in some way. I was impressed by the amount the audience had to look at. The set for all three operas was minimal. It consisted of a bow shaped platform and the occasional prop. However, the projection screen added an outstanding visual element that gave depth and context to the operas. Also, there were three screens that projected English subtitles to enhance your understanding of the plot. It was a great experience.

Leonard Bernstein is an American composer born in 1918. He was among the first American conductors to receive worldwide acclaim. The New York Times claim he is "one of the most prodigally talented and successful musicians in American history."

Bernstein’s TROUBLE IN TAHITI features the troubles of a marriage during the ideal, shiny, and perfect 1950s. During one day, the couple indulges themselves in affairs and other distractions to take their minds off the troubled marriage. This opera depicts the television and film as an escape from the trouble in paradise.

I have to say, this was my favorite opera. First, it was in English. Second, I understood the time period better. And finally, it has a few jazz elements, which I enjoyed.

There were a few liberties taken. The father, Sam (Jose Rubio), has an affair with his secretary Miss Brown or in the production Venus. While the mother, Dinah (Daryl Freedman) has an affair with Pluto. The Ungrateful Dead play other roles through the opera. I think it added a new element and twist on the affairs that implied things I am not sure Bernstein had in mind, but it worked. Weaving in characters from all three operas into the scenes helped bring the triple bill together under one constant umbrella.

The 50’s inspired visuals on this opera were great. And the “perfect” Fantasy Trio (Jennifer Forni, Steve Brennfleck, and Christopher Clayton) acted not only as a type of Greek chorus, but added a bit of humor in to a tragic storyline.

I had a great time attending the opera and I encourage you to check out this production as well as future productions. The cast was great and the production was marvelous!