DemocracyReview - Page: 1 of 1

THE STORY:
Based on the two novels written by Henry Adams, the year is 1875 in Washington DC and the story is centered around two love stories; one of a Mrs. Madeleine Lee, a rich widow from New York, in love with the powerful Illinois Senator Silsa Raitcliffe; and the second between the young Esther Dudley and the Reverend Stephen Hazzard. By the close of Act I each of the gentleman have positioned themselves and have asked their respective ladies for their hand in marriage. By Act II we find that each of the prospective brides has found out ‘things’ about their suitors which ultimately make them reject their marriage offers. The entire opera is done as an opera within the continuing dialogue of the Bulgarian Ambassador Baron Jacobi, who wistfully jumps in and out of the action. The end has each of the women announcing that the opera is a comedy with a happy, though bitter, ending.

THE PLACE:
This add on to the regular Washington Opera season was performed at the Lisner Auditorium located in the heart of Washington DC. Though not my first choice of venues the Lisner does do well with opera and with ample seats makes for a large though intimate experience. There are few amenities at the auditorium so when attending a performance make sure you are ready to arrive, sit and get on with the show. The seating was comfortable and stage is sufficient to handle most of the standard repertoire.

THE PERFORMANCE:
Judging by the length of the applause and the number of bows from the stage it would be safe to say that "Democracy – an American Comedy" was a hit. Overall this new opera commissioned by Placido Domingo for the Washington National Opera with music by Scott Wheeler and libretto by Romulus Linney was everything it set out to be; it certainly was a feather in the cap ofthe WNO and the Domingo-Catfritz Young Artist Program, which continues the “ever expanding treasury of American opera” as well as meeting the mission of Placido Domingo, to introduce new works to the WNO each season (last year it was Andre Previn’s “Streetcar Named Desire”).
Though there were six principle roles, there were some clear standouts. First on my list was Amanda Squitieri, playing Esther Dudley, who recently performed in one of the WNO’s scheduled performances, "Luisa Fernanda". Ms. Squitieri was outstanding and sang with a crisp clean soprano that projected well and evenly when needed. It also didn’t hurt that Mr. Wheeler gave her, in my estimation, the best music to sing. Then there was baritone, Lee Poulis, who delivered a wonderful Senator Raitcliffe. His tone was strong and he stayed in good voice throughout the entire performance. Finally the veteran of the group, tenor Robert Baker (who has sung over 250 performances with the WNO) gave us a wicked and wonderful Baron Jacobi. Not only was his singing superb, but his acting was outstanding. Mr. Baker was a great presence on the stage and was the perfect guide.
There will be much talk about the strong “gay” influence of this opera (Jacobi, Lydia and Esther always seemed to be in trousers). I’m not certain the characters in the books dressed like this, or that it would have been likely attire in that period of history, so I don’t understand why they were outfitted thusly here. It didn’t detract, as much as it distracted – at least for this reviewer.
Where this reviewer differs from the rest of the audience ( because we all seemed to be applauding at the end) was that to “my ear” the piece in its totality just didn’t fit. It was more in line with Britten and Stavinsky, two composers with whom I have never really warmed up (see my recent review of Billy Budd). I feel about this work by Wheeler the same way I feel about jazz: I like certain parts that have a melody and can keep itself grounded in the familiar. But when the music sounds like nothing more than a group of talented people out there doing their own thing -- well sometimes it can just sound like noise (sorry Mr. Wheeler). I give a great deal of credit to the singers and the orchestra in this regard because it had to be difficult to tell how to keep one’s place or know what was coming next. As noted, the music didn’t seem to have any moorings to grasp onto – either for the singers or the audience.
That being said the performers did an outstanding job. The stage, changing many times throughout, was wonderfully designed making it easy to change and maintain all of the needed moods.
The Act II split stage with both couples dueling with their respective love interests was well-done and imaginative. While not perfect, Mr. Wheeler did produce a good piece of American opera and he will likely be sought after for new commissions. For my part, I will continue to study and learn more about this ‘new’ sound in hopes that I, too, will someday stand and applaud and know that it it is not just the vocal ability of the singers that deserve high praise, but also the work of the composer. Here, I go three quarter’s of the way. The performers did a commendable job, the set design and lighting was fine, as was the stage direction; it was the music that failed to take hold.

Conductor, Anne Manson
Director, John Pascoe
Set Desig, John Pascoe
Costume, Wig and Make Up, John Pascoe
Lighting Design, Jeff Bruckerhoff
Assistant Director, Chia Patino
Chorus Master, Matthew Mehaffey