Michael Reviews Things!

Today's review:

Lillian Alling

Have you heard of John Estacio? If not, click on his name and check out his website.

[Mini review: The website needs some attention... The angled headshot with cheezy background - it's not really helping! Also, the opera section of your website doesn't even mention your newest opera, and the "upcoming concerts" section starts listing things in Sept. 5/2009]

Anyway, he recently premiered an opera called Lillian Alling here in Vancouver. I was lucky enough to have been treated to the dress rehearsal as a birthday present from a delightful theorist friend of mine.

The Story (Spoiler Alert!)

While I'd never heard of her, Lillian Alling is an intriguing character. Here is a website about her. She is a woman enshrouded in mystery: she came from Russia(ish) and lands in Brooklyn looking for Josef, her lover. She repeatedly tells the tale about how they met in Russia and he said he would marry her, and how her life is bound to his life. Long story short, she walks to North Dakota, then Vancouver looking for this chump. Along they way, everyone tells her what a playa he is and tells her to give up, but she doesn't. You're left wondering, 'why is she so frikkin' naive?!' Some guy falls in love with her, and follows her all around. She feels she can open up to him and then reveals that she's not naive, she's a vengeful wench! The man she seeks isn't her lover, he's the man that killed her family, and I bet you know what she wants to do to him...

So she does, badda-bing badda-boom - bad man dies.

Oh ya, all of this story is nestled inside a side story about an old lady and her middle-aged son who is moving her into the city after a life out in the wilderness (ie. cabin). Surprise, surprise, she's the old version of Lillian Alling, having changed her name etc. Apparently murder is ok, her son doesn't even get mad when he finds out his mom is a killer... oh well!

Really, I liked the story - and the use of the story within a story.

The Music

Mr. Estacio writes good shit. I think he's onto what Opera needs - good solid accessible, but not boring music. At first, I wasn't really hearing the connection between the music in different sections, but as the opera went on and actively listened, it was building a sound story for me. It was a great balance - some kitschy stuff like a coney-island quartet singing when she arrives in Brooklyn, but there were some really well-crafted pieces:

My favourite scene was with the telegraph wire men - singing beepity boops, and all that fun stuff. I'm likely oversimplifying, but it expressed some really refined, yet broad wit.

Of course it's opera, so there were some fantastically orchestrated swells that took you along that journey of Lillian's across the great prairies and the rockies.

Basically, all of the exciting things I've been interested in doing in my own opera, were already masterfully done in this one. I need to look into other contemporary operas, but it seemed like the balance of recit and aria in Lillian Alling was quite far from what I'd been thinking of as traditional. The majority of the opera was in a hybrid dialogue which mixed the flow of recit with the lyricism of aria... ish. The distinction between dry and accompanied recit was out the window, (thank goodness), and it was often hard to find the distinction between the dialogue and the 'song'. Often I would realize they were singing what would classify as a duet/aria, but I couldn't pinpoint when it had started because they had been recit-ing just before.

The Other

This was a sizable world premiere, and Vancouver Opera didn't disappoint! The set was fairly high-maintenance, but was impressive: basically one main formulation with a truck that entered and exited right in the middle, from under the bulk of the mainstage.

There was a video-integration element which was ok, actually, no, I don't think it really did much... It was about a 5-15 minute section (I hate trying to judge time) where there was no real stage-presence. The orchestra was the main focus, and the only visual was the video which had recorded images of Lillian climbing on rocks, etc. For me, this seemed like an interlude which, in really old opera, would feature a ballet scene. I would have preferred to see dancing.

Oh ya, The Performing

I thought the orchestra was very strong, which is very refreshing compared to my last few live opera experiences...

The singers were great - some standouts worth mentioning:

Judith Forst, as Irene (Old Lillian Alling) - her diction should serve as a standard for the care that needs to be taken when singing English!

Colin Ainsworth, as Kristian, the farmer's son - a great tenor voice! The one true aria in the opera, and he ran with it. It was Ainsworth's aria that reminded me, 'hey, this IS opera!'

I really wish that I could scream to the heavens about how great Frédérique Vézina was as Lillian, but I can't. It was dress rehearsal night, so I'm going to give her the benefit of the doubt and assume (I really hope) that she was marking. I hate to be a bitch (no, I love it), but I was disappointed with how weak her voice was, but yes, I'll assume she was saving herself for the big night.

In Conclusion

All in all, I was heartily impressed with all aspects of this performance. After what seems like a long line of minimalist operas, I'm excited to see that opera can be comprehensible, engaging, emotive, beautiful, and exciting without lowering itself to the common denominator.

I really hope that this opera gets toured around and performed in many places - and when it does, you should go see it!