One year ago I blogged about the Metropolitan Opera’s new production of Parsifal, shown live in HD at the UPAC in Kingston (you can read that post here). Last week I attended the Encore HD performance of the Met’s new production of Massanet’s opera Werther, this time at the UPAC’s “sister theater” across the Hudson River, the historic Bardavon Theater in Poughkeepsie. “Encore” performances are the same as the “live” ones except that they’re not live but may be a day or a week later; as with the live ones, in the Encore performances you get the same intermission features, including the interviews with the cast that actually took place during the intermissions.
This was my first time ever seeing Werther, which is loosely based on a novel by Goethe, and except for the tenor arias that I have on recordings by the great Nicolai Gedda I was unfamiliar with any of the music. I can’t say I particularly liked the opera — but I did enjoy the performance immensely. Vocally and visually the cast couldn’t have been more perfect. Both onstage and off, tenor Jonas Kaufmann looks the epitome of the handsome, dashing romantic hero, and the title role was as if made for him. Surprising, really, how demanding the role is, and it’s hard to imagine a tenor today who could navigate its challenges more successfully than Kaufmann.
French mezzo soprano Sophie Koch in the role of Charlotte gave a virtuoso performance as the young woman torn between being united with her true love, on the one hand, and, on the other, dutifully fulfilling her mother’s deathbed wish that she marry Albert, to whom she is now engaged. Lisette Oropesa was delightfully sweet as Charlotte’s younger sister Sophie, and David Bižić a steady, solid, if somewhat boring Albert (I’m referring to the character, not to Bižić’s performance) who nonetheless exhibited hints of a hard side when he thought himself crossed.
Veteran singer Jonathan Summers played the Bailiff, Charlotte’s widowed father. Here’s where the beauty of the close-up camera work of the HD rendition really shines: At one point a telling expression of misgiving flashed across his face when Charlotte’s upcoming marriage to Albert was mentioned. which I doubt could have been visible to the audience in the enormous opera house itself.
In the intermission interview Kaufmann spoke of the challenge of interpreting Werther in such a way that the audience doesn’t lose sympathy with him. He certainly did his best, but I think the production was working against him here, and by Act III you wanted to tell him, “Just take some Zoloft and get over it.”
This was my first time seeing a performance in the Bardavon Theater. The Bardavon has an amazing history. It started life as the Collingwood Opera House in 1869, and
during its heyday, which lasted into the 20th century, renowned artists such as John Philip Sousa, Edwin Booth, and Ignace Paderewski performed here. Converted in 1923 into a venue for vaudeville and silent movies, the theater eventually fell upon hard times and closed in 1975. It was actually slated for demolition, but a not-for-profit group was formed that worked for revitalization, the theater was placed on the National Register of Historic Places, and the very next season the theater began its new life as the Bardavon.
Whatever kind of entertainment you enjoy, the Bardavon and the Kingston UPAC are guaranteed to have something for you. Why not check out their website and see for yourself?
View my fine art photographs of Historic New York, including one of Poughkeepsie’s Main Street, here.
Nancy, You should be writing for the Opera News. Your opera commentaries are as riveting as your photography.