Double Bill by MN Opera at Luminary Arts

There are two very good, yet rare operas being done right now by MN Opera. They are playing at the Luminary Arts Center in a wonderful production directed by Kyle Weiler, and conducted by Joseph Li. Both operas are being performed by members of the MN Opera's Resident Artist program, as well as an Alum of Project Opera. The casting is fantastic, and the designs of both productions is cohesive and wonderful to look at. Both operas together create a great night that is about 90 min long, which includes a 20 min intermission. They are both sung in English with supertitles so they are perfect for someone who is new to opera, and wants to experience non-standard repertoire. 

Photo: Cory Weaver

The first opera of the evening is Trouble in Tahiti, music and libretto by Leonard Bernstein, which premiered in 1952. With that date in mind, there may be some issues that arise that are not standard for current opera. The program provides a QR code to scan and read about what possible "trouble" there might be in this work. This work was written after Bernstein wrote On The Town (1944) and before Wonderful Town (1953), Candide (1956), and West Side Story (1957). I bring this up because there are musical moments that reminded me of all the later works. Trouble in Tahiti is an intimate musical portrait of a married couple, Sam (Charles H. Eaton) and Dinah (Zoie Reams), who are having marital problems. It is never made clear what those issues are but what we do know is that they have trouble communicating with each other. The opera starts with the Jazz Trio of Keely Futterer, Efraín Corralejo, and Jeremiah Sanders singing in tight harmony (and some discordant chords) of the joys of living in Suburbia. Bernstein has the Jazz Trio also do some vocal scatting, or at least Bernsteins version of vocal scatting. While I love that Bernstein was exploring how to bring in this aspect of jazz singing into a classical form...I don't think it works. Even later in Wonderful Town, it doesn't work for me.

Photo: Cory Weaver

The setting is set, and we have Sam and Dinah enter for their breakfast, and the first argument of the day. The opera is in seven scenes which allows both Sam and Dinah to show the interactions they have with others. We see Sam in his office with co-workers, talking on the phone, talking to his secretary. On the other hand we see Dinah talking to her therapist about a dream she had. This dream portion reminded me of Candide which ends with a stunning choral number named "Make our Garden Grow." Bernstein's libretto is also really nice here where he has Dinah repeat a line about a garden where love will teach us harmony and grace. Sam and Dinah run into each other, and they both talk about their lunch plans and how they can't lunch together. We get a chance to hear them sing their internal thoughts and another charming line from Bernstein stuck out to me. "You were my charm and all delight to me." They go their own ways, and when we next see Dinah she talks to the audience about a terrible movie she just saw named "Trouble in Tahiti." There is so much gorgeous music in this work, some of it sounds like future works of Bernsteins, but it is all beautiful. Eaton and Reams know their vocal instruments, and how to use them to the best character choice. The direction by Weiler is smart, and clear, with some fantastic smooth transitions between scenes. A really great production of a Bernstein work that is not done often.

Photo: Cory Weaver

The second opera of the night is Service Provider which was first produced during the 2015/2016 Kennedy Center season. This work has music by Christopher Weiss, and a libretto by John de los Santos. The music is for a smaller 11-piece orchestra (vs the 23-piece orchestra for the Bernstein) and has a cinematic quality to it. This is a very funny work with some clear social commentary about cell phone usage. We are brought to the scene of a restaurant. Autumn (Zoie Reams) and Beau (Jeremiah Sanders) are shown to their table by Dallas (Efraín Corralejo). They are seated to celebrate their third anniversary. Autumn orders wine, they sing about how happy they are with each other, how every box is checked and has been for the last three years. Yet...if you listen closely you hear one of them sing "nearly every box checked..." so you know trouble may be on the way. Autumn asks for a bottle of red, and then gets engrossed in her phone while Dallas (the waiter) talks about the various red wines that are available. Autumn waves him off with a request for something sexy. Charlene (Keely Futterer) enters and sits at another table. Dallas goes to her and asks what she wants to order. As he gloriously sings about the specials (Charlene turning down each one), Autumn continues being on her phone. After Charlene asks for another glass of wine, she picks up her phone and texts someone. We realize that she has texted Beau.

You will have to get a ticket to know what happens. Well directed comedy (including some good physical comedy) ensues, as well as heartbreak (it is opera, after all). Dallas has a wonderful aria about the dirge of cell phones and how now one really listens or pays attention. It is a wonderful piece, and the cast is amazing. Vocally on top of the melodies making them sound so conversational and modern, while also beautiful. It was a fantastic work to balance out the seriousness of the Bernstiein. This really is a perfect double bill, and Luminary is a perfect location for it. It is an intimate space, the singers are right there and you can really see and hear them so well, you experience the music and voices with them. It was wonderful.