This is one of those post modern experiences which one cannot quite pigeonhole. The stupendous top notes of opera singer Renee Fleming, who sings at events like the inauguration of US Presidents, for the Queen and for Prince Charles's 70th are almost physical: their sound brings to mind 'flying'. Somehow, though, I was not as convinced by her lower, less smooth register and delivery, which seemed to lack the lyricism that came naturally to her co-star, 23 year old Disney star, Dove Cameron and honey-voiced Rob Houchen
Neither of the female 'power singers' could iron out the various shortcomings and oddities of this 2005 Tony awardwinning Broadway musical, Light in the Piazza, with both its music and lyrics penned by Adam Guettel, the grandson of Richard Rogers, composer of 'Sound of Music', father of Mary Rogers, chair of the Julliard School. Somehow 'Carousel' got mixed up with classical and lost its way. The whole question of whether one can mix genres springs to mind.
Set in summertime Florence in the 1950s, the plot seems thin and undramatic until late in Act 1 when it is revealed that it is involves the hidden disability of the daughter of a American mother in a loveless marriage to an industrialist, back home. The mother goes into inner conflict over whether Italian love 'conquers all' or whether she will be sued for not revealing her daughter's (brain) injury. The thin plot, originally taken from a novel, leaves us with an odd ending in which it is not clear if all is fairly revealed to all parties, which I fully support happening - as in the workplace.
Much conversation is in Italian, reminiscent of Italian opera in an Italian square setting, not quite as appealing as it might have been, with the orchestra taking up half the upper stage. The review on Wikipedia hits the nail on the head in the paragraph entitled Critical Response.
I don't want to sound negative: I know the level of rare talent and skill involved. I don't want to come out against all innovation which has been difficult since harmony became the preserve of popular music. I am not undervaluing Opera North Orchestra's luscious sound, two lovely songs about 'walking' (a real blessing, to sing about), very richly orchestrated, or under-estimate Renee Fleming's acting. However, I have admit to coming out a little underwhelmed and mildly dumbfounded (while the enthusiastic audience were in raptures).
Where is the Giacomo Puccini of today who can master drama, find a good libretto and write luscious music? What on earth happened to the great American musical? My feeling is that both came out of Christianity, or at least out of a more unified social narrative.
Post modernism (which is also 'post Christian'), though not without compassion, has fragmented the unified narrative about life being 'tragic reality saved only by true love and faith', into many individual 'issues' - shards of individual pain, such as 'hidden disability' or 'the problem of a frustrating, loveless marriage'. A unified Christian approach, even when less compassionate, sets events into a wider tragic, 'universal' context. Mimi's illness and death in 'La Boheme' is veritably tragic, wrapped in a series of heart-rending responses meant to be life-changing and shameful, for the audience as well as for the characters. Life in classical opera is portrayed as an all-engulfing tragedy, just as much as it can be an engulfing joy in the American musical. One thinks of the feeling that pervades the more convincing (French) 'Les Miserables' and one can only call its atmosphere 'tragic' even if it is too relentless. The function of the harmony is to 'pull it all together' - both the tragedy and the joy.
This post modern, edgy, issue-based view of life cannot, in my view, support operatic-musical art, which has to be universal and 'comprehensive'. Without a unifying and moral vision at the foundation, opera's tragic drama and the harmonious melody of the musical largely wither away.
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