Kevin Burdette (General Polkan), Tim Mix (King Dodon) and the Santa Fe Opera Chorus. Photo by Paul Horpedahl/Santa Fe Opera 2017
Kevin Burdette (General Polkan), Tim Mix (King Dodon), and the Santa Fe Opera Chorus. Photo by Paul Horpedahl/Santa Fe Opera 2017
By CARL NEWTON
Los Alamos
Maestro Emmanuel Villaume, the Music Director of the Dallas Opera, co-producer of The Golden Cockerel, was in command of some of the most opulent sounds ever heard in the Crosby Theatre. Rimsky-Korsakov, best known for his orchestral works like Scheherazade and the Russian Easter Overture, devoted most of his musical creativity to writing operas. His highly inventive instrumentation and melodic lines are a pot of gold for classical music lovers.
Korsakov’s Principles of Orchestration was left as an unfinished draft in 1873 and was published posthumously when his son-in-law finalized it. The tome is replete with examples of techniques that this master of instrumentation used in Cockerel.
When Tsar Nicholas II, the last Romanov ruler of Russia was blamed for a humiliating military defeat by the Japanese and for internal social unrest suppression, Korsakov was the director of the St. Petersburg Conservatory. That motivated him to write one more opera based on a poem by Alexander Pushkin about an inept ruler.
Not only is the music par excellence, but so are the production elements of sets, costumes and lighting. Add to that the farcical comedic touches ala Doonesbury or Laurel and Hardy, and most importantly the outstanding cast of singing actors, the SFO audiences are richly rewarded.
The allegorical fairy tale begins with the Astrologer entering upstage with a gigantic curved and perforated screen swooping down from the heights to his right. Much of the 20 tons of steel purchased for this production are used for this giant projection screen. The only times we see the cockerel it is an image there.
Barry Banks in this return to our stage is the Astrologer who warns in his prologue that we’re about to be immersed in a conjured up morality tale. Banks’ marvelous tenor altino voice and comic presence are superb.
As Act 1 begins an 8-foot, 6-inch throne makes its journey up from the trap room, and when shielded from view by Boyar costumed chorus members is assembled to full height. And sitting on the throne is the lazy and gluttonous Tsar Dodon and we know were off on a comedic journey.
Tim Mix is Tsar Dodon, well-padded in his fire engine red night-wear costume, is often surrounded by his adoring subjects who are incapable advisors. When he wants advice on how to have peaceful sleep under the hostile threat of neighbors he has waged war on for years, he solicits strategies from his sons Prince Guidon (Apprentice Richard Smagur) and Prince Afron (Apprentice Jorge Espino). Their advice is challenged by General Polkan (Kevin Burdette). Each of those singers are excellent vocally and comedically.
The Astrologer returns with a solution to the Tsar’s problem: A Golden Cockerel that can peer over the Tsar’s borders and signal the directions in which threats appear (like a weather vane). The Cockerel will also let the Tsar know when there is no threat and he may lie on his throne and rule while asleep. The images of the Cockerel were created by taking an artist’s renditions and then through digital algorithms bring the bird to life making truly spectacular projections on the screen above.
Apprentice Kasia Borowiec is the voice of the Cockerel and sings from within the trusses. When bows are taken at the conclusion of the performance, Borowiec is dressed in shimmering gold.
The scenic and costume designer Gary McMann was the beneficiary of the acquisition to the rights of a book of Russian textiles. Digital files were obtained of the designs used for costumes and projections on the set. After editing for scale and color the costume designs were printed on 400 yards of polyester fabric. Colorful costumes are worn by apprentice artist women when dressed as members of the ruling Boyar class.
Chorus members have many quick costume changes as they assume different roles, which requires the apprentice technician dressers to perform choreographed movements during those changes.
We audience members experience a rare golden opportunity to be present for this Russian opera sung by a superb cast of coloratura singers. The role of the Queen of Shemakha is sung by the much in demand soprano Venera Gimadieva, who has no difficulty conquering her enemy the doddering fool Tsar Dodon by her physical beauty. Among the great arias in the opera is her Hymn to the Sun as she makes her first appearance in Act 2. Her golden tones continue until the conclusion of the opera when she and the Astrologer, Banks, mix it up in the Epilogue.
Contralto Meredith Arwady returns to our stage in the role of the Tsar’s housekeeper Amelfa providing another golden toned voice. Some of the greatest roar of laughter is when Amelfa and the Tsar or co-residents of the throne.
It is hard to imagine that there could me a more visually sumptuous production that includes some of the finest operatic music ever written. I give this production 5 Gold Stars.
Venera Gimadieva (The Queen of Shemakha) and Tim Mix (King Dodon). Photo by Ken Howard/Santa Fe Opera 2017
Venera Gimadieva (Queen of Shemakha) and Tim Mix (King Dodon). Photo by Ken Howard for Santa Fe Opera, 2017