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Duke Bluebeard's Castle and Gianni Schicchi
By Michael Van Duzer
To close its 2001-2002 Season, Los Angeles Opera chose a double bill of two 20th Century pieces; Bela Bartok's Duke Bluebeard's Castle and Giacomo Puccini's Gianni Schicchi. At first glance Bartok's gloomy symbolism seems an odd companion for Puccini's sparkling wit, but with productions this strong, no excuses need be made.
In what is definitely their most felicitous attempt to capitalize on local talent by using well-known film directors, Los Angeles Opera drafted William Friedkin (The Exorcist) to stage the production. Friedkin has a keen understanding of both works and, with the help of designer Gottfried Pilz, has created clear and complementary concepts for both operas. Bluebeard's ambiguous and mysterious world is perfectly realized in a stylized setting that highlights the opera's universality while the staging delineates the painful yearning of Bluebeard and his new wife for love with palpable clarity. The production also reinstates an interesting and rarely performed prologue. Schicchi's shenanigans are updated to a vaguely mid-20th Century Florence and the comedy is played at the full-out farce level of a Marx Brothers film.
In a thrilling display of versatility, Samuel Ramey steps into the shoes of both title characters and triumphs. Anyone familiar with Ramey's long and distinguished career knows he can easily handle the vocal requirements for both characters but his empathetic Bluebeard and scheming Schicchi are the meticulously complete characterizations of a true artist.
Denyce Graves tackles the role of Judith, Bluebeard's new wife, with passion and intelligence. In truth, the role occasionally taxes her upper register but, for the most part, she sings with a velvety lushness that makes one understand how helpless Bluebeard is to refuse her anything.
The cast for Schicchi throws itself into Friedkin's carefully choreographed mayhem with infectious abandon. Rolando Villazon is an amazingly physical Rinuccio, singing with sweetly rounded tones while channeling Rowan Atkinson and his Lauretta, Danielle De Niese chirps prettily through the aria everyone has come to hear. It is probably unfair to single out members of such an incredible ensemble but it seems even less reasonable not to at least mention the wonderful work done by veteran Rosalind Elias, Stefano de Peppo, Tony R. Dillon and the always delightful, Suzanna Guzman.
Kent Nagano conducts with the same kind of care and empathy that has characterized the rest of the production resulting in one of the best evenings of operatic entertainment this season. I can hardly wait for next year.
Duke Bluebeard's Castle and Gianni Schicchi play at the Dorothy Chandler Pavillion May 31-June 15.
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