* Notes *
West Edge Opera presented Gluck's Orfeo ed Euridice last night at yet another new venue. Unfortunately, the space, once a repair facility for rail cars, is not acoustically suited for unamplified music.
In the past decade, West Edge Opera has performed everywhere from a high school theater in El Cerrito to a Bart station in Berkeley. The decrepit Oakland train station used in 2015 and 2016 was by far the most cool location, while last year's performances at a former Ford plant in Richmond had breathtaking views but was difficult to get to from San Francisco.
This year's venue, the Bridge Yard, has a fantastic views of the Bay Bridge, San Francisco, and the Port of Oakland. The industrial building dates from 1938, and has an edgy charm. However, it deadens sound, something about the shape of the space takes away from the resonances of both instruments and singers. Part of the problem is certainly the lack of back to the building, it is simply open. Another issue is the proximity to the highway, the white noise of vehicles takes the bite out of sounds.
Director KJ Dahlaw, a non-binary dance artist whose pronouns are "they" and "them," utilizes half a dozen dancers (pictured, photograph by Cory Weaver) in their production. The choreography reminded me of yoga combined with Graham technique. The dance costumes were beige unitards that could be festooned with tulle, ribbons, or sleeves and wig changes to switch characters from wedding celebrants to furies to blessed spirits. Mikoko Uesugi's minimal set is elegant, simply a few huge panels of transparent cloth that could be transformed with lighting.
Christine Brandes, best known as a soprano, took the helm of the orchestra. The proceedings were restrained and sedate, it is utterly beautiful music, but somehow the musicians seemed to lose momentum in Act II, and "Che farò senza Euridice" was particularly muddled. There were lovely moments, especially with the chorus, who stood in the pit and were able to unify the music.
All three principals (Maria Valdes, Shawnette Sulker, and Nikola Printz pictured, photograph by Cory Weaver) are well known to Bay Area audiences. Soprano Shawnette Sulker cuts a dramatic figure as Amore in an asymmetrical tulle collar and lace corset. Her bright bird-like voice cuts through the best of the trio, but even she was dampened by the venue.
As Euridice, soprano Maria Valdes looked like a sweet doll. The brilliance of her sound was not apparent, but she did give a tender performance. Her interactions with mezzo-soprano Nikola Printz (Orfeo) were convincing. In this production Orfeo is non-binary, wearing both a gown with bow-tie and men's wear (a vest with pinstriped trousers) that plays up feminine curves. It isn't a stretch at all for opera, women play men all the time after all, and queering this story is perfectly reasonable and even anticlimactic. Printz has the stature for the role, being tall and athletic with a clear, strong voice. Some of her lower register was undercut by the challenging space, but I could always hear her.
* Tattling *
There was light talking at the beginning of the opera, a watch alarm at 9pm, and titters at the super titles. Mostly the audience members were very good, though I did not appreciate a loud crash from something dropping house right in the middle of Act II.