Haymarket Opera’s engaging cast serves up a terrific “Tamerlano”
Those who blame a decline of interest in opera for their inability to sell tickets, should look to Haymarket Opera.
Chicago’s feisty Baroque opera company opened its ambitious production of Handel’s Tamerlano to a full house Thursday night. Both weekend repeats are sold out as well.
Granted, DePaul University’s 160-seat Jarvis Opera Hall is a mere sliver of the capacity of the Civic Opera House. But when you have people fighting to get on a ticket waiting list for a rarely heard, three-hour opera seria, it shows that enthusiasm for opera is alive and well in Chicago.
Tamerlano premiered in 1724, hailing from the same fecund period as Handel’s Giulio Cesare and Rodelinda. And while Tamerlano’s music isn’t as celebrated nor quite as indelible as in those two masterworks, Handel’s ceaseless flow of melody is rich, varied and delightful throughout this epic work.
The plot is tortuous even by Handel’s standard. The title Tartar conqueror has taken captive Bajazet, the Ottoman sultan. Tamerlano becomes obsessed with Bajazet’s beautiful daughter, Asteria, who is herself in love with the Greek prince Andronico; the situation is complicated further by the arrival of the princess Irene, who is betrothed to Tamerlano. Hilarity doesn’t ensue as Tamerlano threatens and manipulates those around him to obtain Asteria and execute the wily Turk.
The historical figures of Tamerlane and Bajazet were far removed even in Handel’s day, and the background and characters are as inscrutable to contemporary audiences as the jokes in The Dunciad. Yet, as with other Handel operas on ancient themes, the emotions are universal in this musical love triangle set against a geopolitical battle of high stakes.
Even dealing with a wave of illness that made a couple singers miss the dress rehearsal, Haymarket’s engaging cast and attractive production made the three hours (plus two intermissions) fly by.
Handel’s showy coloratura passages were sometimes sung more gamely than brilliantly opening night, and at times one wanted a bit more fire and vocal virtuosity. Yet on the whole the six principals delivered Handel’s music with impressive polish, dedication and vocal gleam to mark this 300th anniversary year of Tamerlano’s premiere in style.
David Portillo brought his vibrant and powerful voice to the role of the imprisoned, resentful Bajazet, one of the first major tenor roles in opera. Portillo sang with consistent strength as well as impressive agility and was dramatically credible throughout, even in Bajazet’s interminable expiration in the final act.
In the title role, Ryan Belongie was more of a wild card, taking some time to settle in. His soft-grained countertenor felt unfocused and wanting in rhythmic point in Act I. Belongie sang with greater incisiveness and firmer impact as the evening progressed. Likewise his characterization gained in definition, segueing from a rather louche Tamerlano to a twitchy yet still dangerous villain. (Tamerlano’s abrupt 180-degree transformation into a forgiving humanitarian at the end of the evening is one of the least plausible turnarounds in all opera.)
Emily Birsan proved a worthy heroine as the beset, somewhat annoying Asteria. In Act I her singing was sometimes short breathed in the more expansive arias and the soprano’s tone turned fitfully strident in the upper range. Like Belongie, Birsan’s singing improved in polish and detailing as the night unfolded and she was at her best in the latter acts.
Kathleen Felty made a most impressive Haymarket debut in the trousers role of Andronico, Asteria’s perpetually flummoxed lover. The mezzo’s voice has a contralto-like depth yet Felty brought great flexibility to her showy arias as well as expressive sensitivity to “Bella Asteria” and “Benche mi sprezzi.” Her natural, understated acting made Andronico the most rounded and believable character onstage.
Emily Fons provided welcome humor and characteristic outsized personality to the role of Irene, here a kind of Baroque Lina Lamont (with a much better voice). The mezzo-soprano handled her fast arias fluently and brought sensitivity and expressive depth to “Par che mi nasca.”
Haymarket’s stalwart bass-baritone David Govertsen brought an island of everyman sanity to Leonte, singing with resonant warmth in his two arias.
The production was in the house style of minimalist, historically accurate tradition with effective set designs by Wendy Waszut-Barrett and evocative, well-timed lighting by Brian Schneider. Stephanie Cluggish’s extravagant costumes provided a panoply of visual splendor.
Craig Trompeter led the superb musicians of the Haymarket Opera Orchestra is a spirited and delightful account of Handel’s score. At times one wanted more alertly nuanced dynamics and expression to better match the singing, but overall Trompeter showed himself a superb Handelian in this sprawling work.
Tamerlano proved Chase Hopkins’ finest staging effort to date. Haymarket’s versatile artistic director moved the busy action fluently and handled the many entrances and exits with consummate skill, avoiding distracting intrusions and allowing Handel’s opera to speak for itself.
Tamerlano will be repeated 3 p.m. Saturday and Sunday. Both performances are sold out; to get on the waiting list email [email protected]. haymarketopera.org
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