By Douglas Neslund
2013 is the hundredth year
of the birth of Benjamin Britten, one of the most singular composers of the 20th
century, whose centenary is being celebrated in Los Angeles by a series of
events throughout the year. His “Noye’s Fludde” is one of the milestones of his
creative genius presented at the Cathedral of Our Lady of the Angels over the
weekend just past in conjunction with LA Opera’s annual productions at the
Cathedral with expenses underwritten by the Dan Murphy Foundation and the
Britten-Pears Foundation. Admission was free to the public and both
performances were packed to the walls.
This is the seventh year
of the LA Opera at the Cathedral series that has produced such early operas as
Noye’s Fludde, which are recreations of miracle plays emanating from church
performances of Biblical themes from which the art form of opera was born. In 2012,
for instance, the opera/miracle play was an adaptation of the 12th
century Play of Daniel brought to life by Noah Greenberg and his New York Pro
Musica in the late 1950s.
What distinguishes this
series of opera productions at the Cathedral is the remarkable professional
team of conductor James Conlon, director Eli Villanueva, educationand
community programs director Stacy Brightman, and a supporting cast of
thousands, or so it seemed.
Professional soloists
Yohan Yi, portraying Noye (Noah), Ronnita Nicole Miller as Noye’s wife, and
Jamieson K. Price providing an impressive Voice of God, drawn from Maestro
Conlon’s rich talent stable at LA Opera, were all first rate (and as we
understand it, the only paid) performers.
One cannot imagine a
better character performance than Mr. Yi’s. His intensity and focus in the role
projected to the Cathedral’s baptistery with stentorian authority and a rich, darkly colored voice.
Ms. Miller’s role allowed for humor as she resisted
boarding Noye’s ark until literally pushed in by her three sons: Caleb Glickman
as Shem, Anthony Karambelas as Ham, and Patrick Mayoral as Jaffett. The boys
formed the best such trio since Fludde was first performed seven years ago. (All
solo voices were amplified.)
Behind the headliners, a
massive collection of exceedingly well-trained instrumentalists and choristers
were assembled to provide turba
support, plus what seemed to be an endless parade of little humans dressed as
the great variety of animals boarding Noye’s ark to avoid certain extinction,
who also sang along and danced at various points. Kudos to Caleb Barnes for
shepherding the little ones as production assistant.
All the costumes, props
and animal approximations were wonderful but within a narrow color scheme,
which made the rainbow, the sign of God’s promise never to flood the earth
again, that much more vivid. Most impressive again were the “birds” skillfully
given flight.
The greatest single
additions to this year’s performances were the projections behind the actors
that helped greatly in the audience’s understanding of the old English as well
as ongoing story.
One would wish to name all
performers, especially the choirs and excellent orchestra, which was seeded
with Los Angeles Opera Orchestra personnel, but comprised primarily of music
students from Hamilton High School’s Academy of Music, all under the direction of LAO conductor James Conlon. One cherishes especially
the beautiful ‘cello solo by LA Opera’s Rowena Hammill. The Cathedral's own Samuel Soria made the pipe organ roar when needed.
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Appreciation to Los Angeles Opera and Downtown News for the above photographs.
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