* Notes *
Opera Parallèle is presenting the world premiere of Laura Kaminsky's Today It Rains this weekend at Z Space. This chamber opera based on Georgia O'Keefe's first trip to Santa Fe is contemplative and features some beautiful singing and stagecraft.
Conductor Nicole Paiement had the 11 orchestra members well in hand. Kaminsky's music can be disquieting, there's quite a lot of instruments shared by the two percussionists including a rain stick, cocktail shakers, and vibraphone. There were times that I had visceral reactions to the brittle, jarring sounds of wine glasses and bottles being used as percussion.
Kaminsky seems to like low strings, there were some beautiful lines for cello, though the solo for violin in Scene 5 when O'Keefe is dreaming is particularly lively and memorable as well. The clarinet solo in Scene 10, when porter Aubrey Wells is practicing on the caboose platform (pictured, photograph by Steve DiBartolomeo) is lovely too.
The libretto, by Mark Campbell and Kimberly Reed, stays out of Kaminsky's way, and manages to be humorous without being embarrassing or stilted, even the lines about penetration and genitalia in Scene 3 as O'Keefe and fellow painter Rebecca "Beck" Salsbury Strand sneak drink and play cards.
This piece is the third new opera I've seen in less than six months at includes a role specifically for an African American; angel Clara Odbody in Jake Heggie's It's A Wonderful Life and Leonard Bast in Allen Shearer's Howards End, America both are recast from the original works. Here we have a clarinet-playing porter Aubrey Wells, who worries about lynching in Kansas, and perhaps plays on the trope of "Magical Negro," helping O'Keefe see that she should go to Santa Fe despite her doubts. On the other hand, it encouraging to see people of color get chances to be in contemporary work. In this case, tenor Nathan Granner as Aubrey Wells was a stand out, his voice is smooth, clear, and vivid. He also moves with intention, his choreography crisp and precise.
The singing all around was fine. The four ensemble members had a ton to do moving the set for the eleven scenes, but still managed to sound great, especially when they sang the words of art critics in Scene 3 and even in the nightmare scene as rowdy partiers at Lake George (Scene 7). Soprano Marnie Breckenridge (pictured, photograph by Steve DiBartolomeo) is amusing as Beck, her piercing quality very much a contrast to the throaty tones of mezzo-soprano Blythe Gaissert as Georgia O'Keefe. Gaissert's voice seemed bottomless, her deep low notes betrayed no effort.
The production is immersive, Kimberly Reed's evocative projections of water and paint on glass are effective and Brian Staufenbiel's production design kept everything moving without the slightest awkwardness. I loved how O'Keefe and Beck got on their train seats and were pushed into place by the other characters, and all the artful transformations of the set design such as the train windows turning into frames for a gallery exhibition.
* Tattling *
The seats at Z Space can create a lot of noise if people shift just so, the squeaks are alarming at times. There also seemed to be a problems with people dropping things in the audience, and a smattering of chatter once in awhile during last night's performance.