Motezuma
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Photo by Keith Ian Polakoff
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By Michael Van Duzer
Although celebrating its 30th birthday, Long Beach Opera retains its youthful and feisty spirit; whether producing little-known repertoire or providing adventurous interpretations for traditional pieces. Their American premiere of Vivaldi’s Motezuma provides an opportunity for both.
Antonio Vivaldi, though omnipresent in the concert hall and on film soundtracks, is heard far less frequently in the Opera House. His operas were popular during his lifetime, and he claimed to have written 94 of them, though many were revisions or featured arias from earlier works. It is therefore fitting that the current version of Motezuma is such a patchwork. Not by design of the composer, but because much of the music is missing. The opera itself remained “lost” until 2002 and received its first revival in 2005, 272 years following its 1773 Venice premiere. The version performed by Long Beach Opera includes all the extant arias along with arias from other Vivaldi operas that fit the libretto. The recitative sections are compressed and sung or spoken in English.
Motezuma also claims the distinction of being the first opera set in the Americas—though historical accuracy was hardly a goal for Vivaldi or his librettist, Girolamo Giusti. They aimed for an exotic background and the kind of convoluted plot that would allow for the vocal fireworks their audiences expected. During Vivaldi’s time, Castrati and other soloists took the stage attempting to outdo each other in heart-wrenching pathos or bravura ornamentation. It was practically a bloodsport.
Over the past 30 years one-time rarities by Handel and Monteverdi have become staples in the standard repertoire. But both of these composers have not only the gift of melody but keen dramatic instincts. Vivaldi seemed content to display his rich musical gifts without exploring new dramatic territory. Motezuma is an important musical find but doesn’t reveal a more adventurous Vivaldi.
The plot is a familiar clash between cultures. Motezuma is the ruler of the Aztec Empire which has been invaded by Spanish forces under Cortes, who is called Fernando in the opera. Complications ensue as the hostilities build between the warrior generals. Meanwhile Motezuma’s daughter, Teutile, and Fernando’s brother, Ramiro, struggle with their love for each other and their sense of duty. In the end, all ends happily, which, of course, was not the case for the historical characters.
Director David Schweitzer sets the opera in a contemporary museum during the opening of an Aztec exhibit. Caterers, docents, and museum officials gradually change clothes and become the operatic characters. Schweitzer’s notes very rightly state that he need not provide an explanation or rationale for his concept, but one could hope that his choices would illuminate the opera in some way. Instead they further muddle what was already a murky narrative.
As always with Long Beach Opera, the cast throw themselves completely into the production. Roberto Gomez is a strong-voiced and commanding Motezuma, while counter tenor, Charles Maxwell is an appropriately unyielding Fernando. But the roles are fairly one-dimensional and offer little opportunity for anything but melodic bluster. This leavest the real scene stealing to the young lovers. Courtney Hoffman proves a playful, haughty, and radiantly sung Teutile who is well-matched by the rich voice and committed acting of Peabody Southwell as Ramiro. Cynthia Jansen bings great dignity to Mitrena, Motezuma’s wife, and Caroline Worra is an effervescent delight as a highly unlikely Aztec warrior called Asprano.
Andreas Mitsek conductea the local Baroque Ensemble, Musica Angelica, in a carefully paced performance of the opera. Next up for Long Beach Opera is a production of two little seen one-acts from the Third Reich performed on the Queen Mary.
Long Beach Opera March 28 & April 5, 2009 Terrace Theatre, Long Beach and Barnum Hall, Santa Monica 562 432-5934 www.longbeachopera.org
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