* Notes *
Conrad Susa's Transformations was performed by the Merola Opera Program at the San Francisco Conservatory of Music last night. Neal Goren conducted the jazz and pop influenced score with aplomb, the music sounded idiomatic. The production from Roy Rallo was very consistent with his style.
The piece is based on ten poems by Anne Sexton, from her book also entitled Transformations. The work consists of re-tellings of Grimm fairy tales, which are already rather dark, and take on an even more sinister meaning here Sexton is wry and very disturbing. Susa's music spreads the lines between eight singers who sing up to thirteen characters a piece. There's a surprising amount of singing together, which is quite nice.
Rallo's production is not, as far as I could tell, in a psychiatric hospital, its normal setting. Act I used only the downstage, everything else hidden behind a white curtain, and looked to be someone's living room with white Rococo style couch and cabinet, with a pink kitchen area stage left. In Act II a cave of grey plastic is revealed, and the couch turned around. As in Rallo's 2011 Barbiere for Merola, there was a lot of tinsel used. Tinsel stands in for Rapunzel's hair and for Rumpelstiltskin's straw spun into gold. The direction had a fair amount of slap-stick to it, a whole apple held in the mouth of Snow White to signify the apple stuck in her throat (pictured above, photograph by Kristen Loken) and straw thrown at the head of the miller's daughter.
The chamber format of the opera and its many parts makes it a good fit for Merola. Unfortunately lead soprano Shannon Jennings, who plays Anne Sexton, was ill. She did remarkably well in Act I, though sang with some strain. Her part was taken over in the pit by Mary Evelyn Hangley, but Jennings continued on stage, acting and mouthing the words.
Soprano Teresa Castillo was a game Princess and Gretel. Mezzo Chelsey Geeting as a plush, lovely sound as the Good Fairy and Witch. Tenor Boris Van Druff was very creepy as Rumpelstiltskin. Also impressive was baritone Andrew G. Manea as Iron Hans.
* Tattling *
The audience was fairly quiet. There was noticeable attrition after the intermission.