* Notes *
The Metropolitan Opera, dark for two nights because of Hurricane Sandy, reopened on Halloween with a third performance of The Tempest by Thomas Adès. The production, from Robert Lepage, is enchanting. The piece is set in a version of La Scala, which starts almost as a paper theater, but ends up being rather detailed and substantial. Act I is from the stage, Act II from the audience, and Act III has a scene from backstage, followed by one in cross section (pictured left, photograph by Ken Howard/Metropolitan Opera). Projections are used to conjure the tempest and the sea. Entrances and exits are made using the prompter's box, curtains, and even the chandelier. The acrobatics involved make for fine spectacle.
The orchestra was lead by an enthusiastic Adès, the playing was clear and the music rather eerie. Adès eschews sentimentality, but can be somewhat harsh, and some of the singers did sound pushed to their limits. The chorus sounded sturdy and together.
Kevin Burdette (Stefano) and Iestyn Davies (Trinculo) excelled as the comic relief of the evening, moving gracefully. Audrey Luna is an otherworldly Ariel, her notes so high she seemed to be squeaking in a cetacean language. Isabel Leonard was a little acidic, but she is a pretty Miranda, and was plaintive in Act III. Alek Shrader sang Ferdinand with sweetness, and with a characteristic metallic sheen in the high notes.
Caliban is a rather sympathetic creature in this opera, and Alan Oke sang with a certain gentleness when necessary. William Burden gave a nuanced performance as the King of Naples, his voice sounded bright and strong. Toby Spence was a believable Antonio, and his sound is distinct from the aforementioned tenors. Though Simon Keenlyside's voice is not particularly robust, his Prospero has much fire and beauty.
* Tattling *
There were a number of talkative audience members in Family Circle, both in seats and in standing room. Given the lack of public transportation, it was not surprising that the hall was not entirely full. There was also noticeable attrition at the intermission. The ovation was, however, ebullient.