| . | 04/16/2002
Ulisse
By: Bruce-Michael Gelbert
photo by Elisabeth Carecchio.
This month, Brooklyn Academy of Music probes the three surviving operas of Italian Renaissance composer Claudio Monteverdi in productions hailing from three nations. Kicking off the series, at BAM's Harvey Theater, is Les Arts
Florissants and the Aix-en-Provence European Academy of Music's "Il Ritorno
d'Ulisse in Patria," after "The Odyssey" of Homer. Under the baton of Les
Arts Florissants founder William Christie and stage direction of the Royal
Shakespeare Company's Adrian Noble, the exquisite opera, with its long
recitatives blooming into arioso and dance, becomes a living masterpiece, not
a museum piece.
Heading the cast are real life spouses Kreslimir Spicer, a Croatian, as the
hero Ulisse, and Marijana Mijanovic, a Serbian, as the steadfast Penelope.
Spicer's Ulisse displays a robust, penetrating and flexible tenor as he
rejoices in his return to his homeland, after 20 years' wandering; makes
palpable his frustration as his son, Telemaco, fails to recognize him in the
disguise mandated by Minerva; and limns an emotional reunion with Penelope.
Singing in a dark, lyric mezzo-soprano, Mijanovic delivers a moving opening
lament, with its plaintive refrain of "Torna, torna, deh, torna Ulisse!";
maintains full dignity as she deals with unwanted suitors; vividly curses
Helen for causing the Trojan War; and, once past her disbelief, jubilantly
welcomes her long lost mate. Tenor Cyril Auvity makes a youthful Telemaco.
Leading the trio of suitors with distinction is Bertrand Bontoux, as Antinoo,
who weds a lieder singer's sensitivity to an instrument that reaches down to
sonorous basso profundo depths. Tenor Andreas Gisler, as Anfinomo, and
countertenor Christophe Laporte, a fan-wielding Pisandro, join Bontoux in
making the suitors' contest, as they try in vain to muster strength to string
Ulisse's intractable bow, a lively scene indeed. Katalin Karolyi and agile
Zachary Stains are the lusty Melanto and Eurimaco, who abet these kings in
their quest. Karolyi plays La Fortuna in the allegorical prologue.
Clear-voiced soprano Olga Pitarch is the ebullient Minerva and, in the
prologue, Amore. Lowered from above, seated, with legs folded, on a flying
carpet and looking like an Eastern potentate, tenor Eric Raffard is a
sweet-toned Giove, king of the gods. Doubling as a blue-clad Nettuno, the
sea god, and ancient Tempo (Time), limping in on crutches, bass-baritone
Paul-Henry Vila discloses dry sound when his lines call for resonance on the
order of that of Bontoux.
Robert Burt makes a most amusing glutton, Iro. A naked and comely Umana
Fragilita (Human Frailty), plaything of Tempo, Fortuna and Amore, Rachid Ben
Abdeslam sings in a pure countertenor. Joseph Cornwell as Ulisse's faithful
old retainer Eumete, Genevieve Kaemmerlen as Penelope's loyal nurse Ericlea,
and Rebecca Ockenden as the goddess Giunone make worthy contributions as well.
Anthony Ward devised the costumes and simple, apt setting, consisting of a
sand floor, two walls and some pottery. Large cloths, blowing in the breeze
and held down by two members of the ensemble, represent the sky through which
Minerva and Telemaco fly, raised and lowered on a tiny platform, and the
sail of the Phoenicians' vessel. The latter is augmented by a toy boat,
shown no mercy by Nettuno. Small lights, on long blue strings, help
illuminate scenes involving the deities. Sue Lefton was responsible for
choreography and Jean Kalman for lighting.
BAM Harvey Theater 651 Fulton Street, Brooklyn
April 7-14
Tickets $35, 80, 120
718/636-4100
also "L'incoronazione di Poppea"
Howard Gilman Opera House, 30 Lafayette Avenue, Brooklyn
April 16-21 Tickets $30, 65, 95
and "Orfeo"
Harvey Theater
April 22-27 Tickets $30, 55, 80
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