* Notes *
The Pulitzer Prize winning Silent Night by Kevin Puts and Mark Campbell is a fine choice for Opera San José, which gave the West Coast premiere last night. It was a worthy challenge for the company, which has a many youthful repertory members, all of whom seemed to rise to the occasion.
Campbell's libretto is based on the screenplay for the 2005 film Joyeux Noël, which in turn is based on a World War I Christmas truce of December 1914 between Scottish, German, and French soldiers. It's a good story, the horrors of war is a serious topic, but has some great humor as well.
The tender portrayals of the various characters, and there are a lot, no less than 14 principals, were convincing. I could hardly even recognize some of the resident company members, even from the fourth row, so much did the singers embody their roles.
The quality of the singing was certainly up there. Soprano Julie Adams played opera singer Anna Sørensen to a tee, her Act II Scene 2 aria was beautiful. Likewise tenor Kirk Dougherty seemed natural in the role of opera singer/German soldier Nikolaus Sprink.
Puts' music sounds very cinematic and sweeping, it definitely is not challenging or dissonant, aside from perhaps the bagpipe featured in Act I Scene 5. Ricardo Rivera (Lt. Audebert) and Brian James Myer (Ponchel) had some of the most lovely music in the middle of Act I. It was not clear to me how well the orchestra played under Maestro Joseph Marcheso, sometimes it sounded a bit off-kilter, the strings sounded out of tune in Act I Scene 4, but this could have been written this way. The brass wasn't always perfectly clean. The woodwinds did have some gorgeous exposed moments.
The production, directed by Michael Shell and designed by Steven Kemp makes excellent use of the space. There are ten scenes and Kemp employs three moveable rectangular wooden frames as each of the camps to keep the action going and this is very effective.
* Tattling *
The audience absolutely loved this opera. There was hardly a seat open in the whole orchestra section, and the whole run is close to being completely full. Given that Minnesota Opera sold-out the world premiere in 2012, Opera San José looks to do just as well.