La Grande-Duchesse de Gerolstein
Although Offenbach’s one "grand" opera, Les Contes d’Hoffmann, is a regular fixture on the rosters of the world’s opera companies, the composer’s lighter operettas are performed with far less frequency. In the case of La Grande-Duchesse de Gerolstein, this is a lamentable omission, as the work, like La Belle Helene and La Perichole, is a veritable repository of irresistible melody. The most famous aria is the Duchess’ lilting "Dites-lui;’ but the opera contains other well-known, melodic gems such as General Boum’s Act I aria, and, of course, there are those tuneful entr’actes. As these operettas were the musical comedies of the mid-19th century, the equivalent of our Broadway shows, the music is harmonically and melodically simple. But Offenbach’s melodic invention, and the infectious, dance-like rhythms have established these French operettas as the ne plus ultra of their genre. Nonetheless, La Grande-Duchesse... seemed a lightweight choice with which to close a major opera season. Considering Opera Boston’s altogether superlative production, it proved the ideal choice.
What a delight to see this rarely performed work handsomely set in an appropriate time-period, rather than being updated to the WWII Fascist, Vichy government; or, even worse, to 2010, with wardrobe courtesy of Urban Outfitters. In fact, no expense was spared with the costumes, which were truly splendid. The Duchess’ three, billowing, full-length gowns were magnificent, particular that of the second act, which was elegantly appointed with iridescent lavender beading. Designer Robert Perdziola was careful not to keep the military costumes "uniform," They were creatively and colorfully handled, as were the nicely executed gowns of the female chorus. His unerring color sense was evident in his set design as well.
The action was staged before massive, framed frescoes of a military or pastoral nature -- a simple but effective device. The design elements of the various curtains and backdrops were very much in keeping with Second Empire style, and really evoked the epoch in which the operetta was composed.
The stage direction of David Kneuss was lively, to say the least. The pace never slackened for a moment. Much of it worked and was clever, such as the intricate, equestrian ballet he concocted for the entr’acte that preceded the operetta’s finale. With the superb comic timing of the cast, many gags were wonderfully executed, and were hilarious. Although, by the end of the Act II, in lengthy scenes such as the "corridor" trio, the fast pacing, and relentless choreography proved too frenetic, and ultimately tiresome. There is abundant humor intrinsic in Offenbach’s music itself. It need not be further amplified in an unending series of physical gags. This over-staging was in fact the only flaw of the production. Of course, if you like your opera in the hyperkinetic mode, you will not be at all disappointed.
It was astounding that the talented Opera Boston Chorus could polish off their music --and there as a great deal of it -- while leaping about the stage in the detailed maneuvers they were assigned. The group sounded terrific, and did a bang-up job! Music Director Gil Rose was in equally fine form. His conducting was taut and brisk, and he got a wonderfully precise ensemble from the fine orchestra and his large band of singers. Despite his brisk approach, he was able to relax during the lyrical moments, and even lend a bit of rubato where appropriate. The orchestra responded beautifully to his masterful direction.
As the to main objects of the Duchess’ affections, tenor Scott Ramsey, as the soldier, Fritz, and Lee Gregory, as Prince Paul, both sang quite well, and were skillful comedians. Their voices have lovely timbres, but were clearly overpowered by that of their star, Stephanie Blythe.
Blythe’s instrument is less a voice, and more an awesome force of nature. When she opened her mouth, she obliterated not only her costars, but the chorus and orchestra to boot. Though massive, her sound is also luxurious, and she as able to scale it down deftly for a gorgeous "Dites-lui." Her sung French was near perfect, and, as the spoken dialogue was recited in English, her diction was exemplary. Few audience members will forget the force of her high notes as they reverberated throughout the theater. Her comic timing was excellent, and she played the part of the oversexed, but perpetually frustrated noblewoman to the hilt. The much-anticipated Boston operatic debut of this internationally renowned mega-star was well worth the wait.
The part of the Duchess’ rival for the Fritz’s love, Wanda, was beautifully sung by Wendy Bryn Harmer. Her silvery soprano, and ingratiating stage presence were yet another strong asset to Opera Boston’s production.
Though often heard here in serious roles, our very own James Maddelena is an adept comedian. His General Boum was a hysterical characterization. He is in remarkable voice, and his unique baritone was a pleasure to hear.
Opera Boston’s star-studded season could not have had a finer finale than with this wonderful production of Offenbach’s La Grande-Duchesse de Gerolstein. The company has announced it’s 2010-2011 Season. It will include Beethoven’s Fidelio, yet another opera curiously elusive on Boston stages. Christine Goerke will perform the title role this October. This will be followed in 2011 by two true rarities, Hindemith’s expressionistic Cardillac, and Donizetti’s Maria Padilla, with Boston favorites Sanford Sylvan and Barbara Quintiliani in the respective title roles. For ticket information, contact Opera Boston: 617-451-9944; or visit Opera Boston’s website.
La Grande-Duchesse de Gerolstein will be performed on May 2, 2010, 7:30pm at the Cutler Majestic Theatre, 219 Tremont Street, Boston, MA. For more information visit Opera Boston’s website.
For some background on Opera Boston’s production of La Grande-Duchesse de Gerolstein, watch these videos:
