Porgy - Eric Owens
Bess - Angel Blue
Crown - Alfred Walker
Sportin' Life - Frederick Ballentine
Clara - Golda Schultz
Serena - Latonia Moore
Metropolitan Opera Orchestra and Chorus
David Robertson (conductor)
James Robinson (director)
Porgy and Bess served as a good introduction for my first visit to the MET. Besides as an 'American' opera showcasing the talents of African Americans, it highlighted social and political issues that still happen nowadays including racial discrimination and the struggle of social outcasts in communities. Peter the honeyman summed up the injustice of police unsophisticated detective work, which wrongfully sent him to the prison, poignantly: 'De white folks put me in, an' de white folks take me out, an' I ain' know yet what I done'.
The use of spirituals and folk tunes connected the audience to a more down to earth music landscape, also the use of dialect mixed with slangs and expression of the time, in contrast to the seriousness and formalness deployed in the composition style of European operas. It was also a colourful tale of African American community, rich and complex, differentiated from Greek mythology or ruling class power struggle that dominated the topics explored in operas. Vocally the lyric emphasis placed more focus on tone beauty than big dramatic singing. These led to the debatable impression of Porgy and Bess whether as a Broadway musical or opera as such.
Despite the progressiveness and social relevance, this production by James Robinson was too 'comfortable' in contrast. The set made an impressive structure on stage turn table alike a fortress for the residents of Catfish Row. The stage light mostly set out a sunny day except the storm in act two. The outlook of the residents looked if they were having a bygone tea party than demonstrating the hardship and struggle in a vulnerable environment.
The dramaturgy lacked the depth in conjuring the tension and violence arose from emotions and even deceptions. Dramatically it left to the lead singers' own device in demonstrating the protagonists complicated and often uneasy relationships. Bess was the most complicated character of all, but this production put her in equal with Porgy, Crown and Sportin' Life. It reduced the focus on her vulnerability and bohemian character negotiating in a male dominant environment. Neither visually sufficient to suggest why Porgy strongly attached to Bess despite her fidelity.
Musically it was a fine evening began with a lovely rendition of 'Summertime' by Golda Schultz. When Angel Blue finally got her voice warmed up, the singing was more connected and tidy. The duet of affection exchanged between Porgy and Bess were beautifully executed. Though Eric Owen did not always match Angel's good sense of music phrasing when there were a few moments that he was saying than singing his line. The special augmented chorus sang nearly without any detection of vibrato and always carried the rigour and choral excitements when necessary. The orchestra accompaniment was tidy and responsive under the baton of David Robertson, who after a natural approach to the music than an overt dramatic rendition.
Photo credits: The Metropolitan Opera
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