SEEN AND HEARD INTERNATIONAL

Catan, Il Postino: Soloists, Orchestra and Chorus of Los Angeles Opera, Grant Gershon, conductor. Dorothy Chandler Pavilion, Los Angeles, 5.10.2010 (LV)

 

Cast:

Pablo Neruda: Placido Domingo

Mario Ruoppolo: Charles Castronovo

Beatrice Russo: Amanda Squitieri

Matilde Neruda: Cristina Gallardo-Domas

Donna Rosa: Nancy Fabiola Herrera

Giorgio: Vladimir Chernev

Di Cosimo: Jose Adan Perez

Mario's father: Gabriel Lautaro Osuna

 

Production:

Conductor: Grant Gershon

Director: Ron Daniels

Scenery and Costume Designer: Riccardo Hernandez

Projection Designer: Philip Bussmann

Choreographer: David Bridel

Charles Castronovo as Mario Ruoppolo
 

From the opening notes of Il Postino, based on the 1994 Italian film, it is clear that Daniel Catan has fashioned a piece of musical magic. Whatever the movie was or the opera was intended to be, Catan's strong piece, presented by Los Angeles Opera, is a story about two tenors, the very different circumstances they find themselves in, the issues they face, and the divides between poetry and life.

Although there's a lot beautiful music along the way, written by a consummate master of writing for both the voice and the orchestra, ultimately this Il Postino is a cruel story in which Placido Domingo, in his 134th role, pays sad homage to the mortality of his superstar lineage. For tenor Charles Castronovo in the role of Mario Ruoppolo, the challenge of starring alongside Placido, and somehow relating to the great man's legacy, must have been a dream come true. In some ways it must be a nightmare, too. No matter that Domingo's voice is starting to fade just a bit around the edges, the legendary beauty of his instrument still remains, plus charisma a mile wide. Together, voice and sex appeal eclipse Castronovo by a noticeable margin.

 

Led by Cristina Gallardo-Domas as Neruda's compassionate wife Matilde and Amanda Squitieri as the postman's squeeze Beatrice, the women are excellent vocally and dramatically, and the bond between Gallardo-Domas and Domingo is particularly believable. Somehow, however, the women also seemed secondary. Perhaps it is the curse of life in Placido World.

A lot of the musical success of the enterprise must be placed squarely on the shoulders of Grant Gershon. For years he has been the touchstone of conducting responsibility and excellence among LA musicians, and here he proves his ability to partner with orchestra and singers to create opera with vivid sweep, passion and imagination.

 

There's no way to disguise how beautifully the LA Opera Orchestra plays. Whether it is the great oboe solo in the second act, the constant stream of felicitous virtuosity from the woodwinds and brass, or the drop dead gorgeous string sound (which could still be fairly called "Hollywood" if that were not a term with slightly unsavory classical music connotations), this orchestra is armed and ready for bear. Someone, please give them and James Conlon a concert series of their own.

The sets and costumes are equally fantastic. Blue parquet floors and walls, occasionally on sliding platforms, frame the action. It's a very intimate opera, perhaps more intimate than the vast reaches of the Chandler Pavilion can accommodate, but the minimalist set regains a proper level of communication. There is a common perception that cheap sets can't be good. Wrong. In fact, if the money spent on the sets for LA Opera's Ring had been "cheap" the way Il Postino's are, perhaps a more compelling music drama would have been forged.

 

The response from music lovers has been enthusiastic. The unaccountably short run sold out as soon as word of mouth hit the street, and free public outdoor screenings have been scheduled for downtown Los Angeles in California Plaza and for the Orange County Performing Arts Center.

 

Il Postino is a co-production with Austria�s Theater an der Wien, and Theatre du Chatelet in Paris. Although this seems like a perfect (i.e., relatively low cost, high expectations) project for Deutsche Grammophon, the tests it needs to pass in order to be recorded will take place on the road.

 

Laurence Vittes

Picture � Robert Millard