Guest Post: MN Opera's Thais at the Ordway

This past Mother’s Day weekend, Minnesota Opera has gifted our cities with yet another stupendous, must-see production. Playing at the Ordway Center for the Performing Arts this coming May 17th, 19th, and 20th is Jules Massenet’s (1842-1912) timeless classic Thaïs. Taking place in Egypt under the rule of the Roman Empire, the opera follows a Cenobite monk, Athanaël, as he attempts to convert the Alexandrian courtesan and devotee d’Amour [GK, Eros], Thaïs, to Christianity. He discovers, however, all too late, that his obsession with her is rooted not in the Greek love that is charitos, but eros, lust. And so, while the courtesan's true purity of heart is revealed, so likewise is the religious man's more carnal nature. The work is often described as bearing a sort of religious eroticism and has had many a controversial production, of which I would say MN Opera’s is now one—and one most beautifully done!

It is also worth noting that the opera’s famous Méditation, the entr'acte for violin and orchestra played between the scenes of act 2, is an oft-performed concert music piece. In fact, it was through Massenet’s Méditation, arranged for violin and piano, that I first encountered Thaïs. I was a young pianist of fourteen years when first asked to perform the work on a recital, and the opera, at least by name, has been a part of me ever since. Even to this day, almost twenty years later, I still find myself humming its tune while either at work, taking a walk, or simply relaxing at home. It is enrapturing to say the least. One cannot depart from hearing its melody without feeling greatly affected, and affective in its own right was Concertmaster Allison Ostrander’s performance.

In the leading roles were Minnesota’s own, Kelly Kaduce, and North Carolina-born baritone, Lucas Meachem, as Thaïs and Athanaël, respectively. Regarding Kaduce, Opera News has proclaimed her “an exceptional actress whose performance [of the title role in Anna Karenina] was as finely modulated dramatically as it was musically. . . and her dark, focused sound was lusty and lyrical one moment, tender and floating the next”—qualities much needed in what has been described as one of the most difficult soprano roles in the whole of the opera repertory. Her opening lines were scrumptiously sung, her legato fine. She seduced, she mesmerized. She taunted the proudly zealous Athanaël, daring him to come for her, singing, “Ose venir, toi qui braves Venus,” or “Dare to come, you who braves Venus,” ending on a high C that was strong, reassured, and defiant!

But, in the very next scene (the start of act 2), Massenet—or, librettist Louis Gallet—challenges the diva to explore her more repressed feelings on the flow of time, the loss of youth and beauty, and ultimately, death. She pines, “Dis-moi [miroir] que je suis belle,” “Tell me, [mirror], that I am always beautiful, that I shall be beautiful eternally,” and she waxes most eloquently on the word “eternellement!” ending on a resounding high D that sings of ultimate defeat as she knows her beauty will, in fact, die away in the wake of time. This ushers in the questioning of her life and thus opens the door to her ultimate conversion at the recognition of a life filled with passing superficiality.

Lucas Meachem delivers a fine performance as the once self-assured monk of the Thebaïd turned restless and wrecked man in the wake of carnal lust and desire. Known for his “fluent, lyrical phrasing” (San Francisco Chronicle) and his “natural vocalism and theatricality” (Chicago Sun-Times), Meachem commands the stage from his entrance into the monastic refectory at the beginning of the first act to his falling at the feet of an ecstatic Thaïs, begging, pleading for her love.

Both leading roles undergo tremendous conversion and transformation, and Kaduce and Meachem, by their exceptional vocal dexterity and strong acting prowess, present us with something truly spectacular. Also worth noting is Austrian-Australian tenor Gerard Schneider’s last-minute performance of Nicias. That’s right, filling in at the eleventh hour (rehearsals began on twelfth of April with a call going out to Schneider on the sixth before) for young American tenor, John Robert Lindsey, because of health issues, Schneider (who makes no mention of having sung the role before in his published biography) delivered a most fun and engaging performance! I was quite pleased to give a more robust ovation at the end as he entered the stage to receive his much-deserved adulation. What a voice! As much as I enjoyed listening to tenor Joshua Dennis sing the role of the Duke in this season’s performance of Rigoletto, a dear friend of mine made me wonder what it would have been like to have heard Schneider in the role. Again, what a voice!

Minnesota Opera’s Resident Artist bass William Clay Thompson performed the role of Palémon. Ever since seeing and hearing him perform at the season’s sneak preview back in October, I have greatly looked forward to his roles, and he has yet to disappoint! Much like bass Benjamin Sieverding, former Minnesota Opera Resident Artist from 2015 and 2017, who sang a remarkable and truly moving performance of the Warden in this season’s production of Dead Man Walking, I look forward to following his career with great interest.

Finally, the Minnesota Opera Orchestra, under the direction of Christopher Franklin, did a fantastic job. Solo after skillful solo open-handedly flowed forth as the members of Zenon Dance Company beautifully executed tableaux after tableaux, choreographed by Heidi Spesard-Noble under the directorship of Andrea Cigni.

As said above, Thaïs is a must-see production—the perfect wedding of all the arts: song, music, dance, acting, design, lighting, etc., etc. etc. Minnesota Opera has outdone itself!Again, performances are 17th, 19th, and 20th of this month.

This is Mark Anthony Rodriguez contributing to Keith Russell’s “Life in Revue.” Enjoy the show.

(all photos by Cory Weaver)