Give opera a chance

Staging an opera is not an easy task. An integration of music, drama and spectacle, the latter consisting of scenery, costumes and lighting, opera summons a skillful fusion of these art forms for its artistic realization. A specialty in itself, it imposes quite a demand logistically as well as artistically. For this reason, in a Third World setting such as ours, its staging is done only quite occasionally.

Karla Gutierrez’s Philippine Opera Company (POC), in cooperation with the Cultural Center of the Philippines, has braved it all in making opera alive in the country with its recent production of Giacomo Puccini’s La Boheme, admittedly one of the world’s best loved operas, that ran for three consecutive nights at the Cultural Center of the Philippines Main Theater. Its production is a fitting tribute to the 150th birth anniversary of Puccini, that genius who was born in Luca, Italy, who composed quite a number of famous operas, continuing thus the fine operatic tradition set by his predecessors, notably Giuseppe Verdi in the 19th century. Since then the popularity of the Italian opera has gone beyond Italy’s shores and become delectable musical fare the world over.

For this latest production of La Boheme, the POC must be commended, although it is also imperative to point out the pitfalls of this particular staging. Singing is a given in opera; take it away and you do not have an opera but a mere theatrical production. Bel canto, or beautiful singing, is the type of singing that is associated with opera. Bel canto shows the great glory of the human voice, honed precisely as an instrument capable of expressing the depths of human emotions. That opera is the unity of music and drama is beyond dispute. However, it is in singing that drama is found as the music loftily expresses the text. In short, singing is the backbone of opera. Without harming themselves, the singers are expected to produce sound that carries the beauty and volume required by the composer in the music that is sung. Great singing rests on a proficiently honed technique that enables the singer to sing beautifully. It yields dynamic breathing and utmost control of the vocal instrument to execute vivid dynamics, from a ravishing pianissimo to a ringing crescendo. It also affords the singer the means to articulate long, unbroken lines rather than choppy phrasing, which amateurs are wont to do.

Sadly, listening to the singers in the gala night was not as highly rewarding as it could have been. Most of the singers’ voices were too underpowered to be amply heard. And they failed to convey Puccini’s sweeping, perfumed melodies in legate lines. In short, the technical prowess upon which musicality should be sensitively built upon was inadequate. 

Essaying the role of Rodolfo, tenor Gary del Rosario, a resident young artist of the Seattle Opera Company based in Seattle, Washington, was perhaps the only exception. His singing was deeply steeped in the bel canto tradition. His voice was brilliantly placed in the passage, and phrasing was full to delineate resplendent lines. He capably demonstrated what operatic singing is all about and literally provided the energy for the production to gel.

 The other singers displayed varied singing styles except bel canto. One of the absorbing moments in watching opera is listening to those saucy high notes that usually crown an aria or grace ensemble singing among the cast more than notes in the lower and middle registers. Of course, an aria is that marvelous, elaborate song that requires not much action but instead calls for a moment of reflection to savor the lyricism of its expressed emotion in a broad vocal register that runs from the lower to the middle and high registers.  

Jennifer Uy and Lawrence Jatayna, who essayed the roles of Mimi and Marcello respectively, showed resplendence in the lower and middle ranges but were wanting in power and brilliance in the top notes. The voices of Ana Guillen Feleo as Musetta, John Ocampos as Schaunard, and Leo Logdat as Colline, have to gain maturity and evenness yet. Nomer Son was a dependable Benoit and Alcindoro. 

Blocking, it seems, did not take singing into much consideration. In Act 1 it exacted a heavy toll on the main characters, Rodolfo and Mimi, as they sang their respective lovely arias and moving duet, which was the highlight of the said act. They were made to sing on a platform that looked out to the skyline on the left side of the stage. The said platform literally became another “stage.” Far from the audience, they sang in an open space that ate up their voices to be fully appreciated, especially Mimi’s. Rodolfo was better appreciated because he capably soared in his aria, Che Gelida Manina (What an Ice-cold Little Hand!) which Puccini scored in high tessitura or register. His high C was powerful and ringing. Mimi’s aria, Si, Mi Chiamano Mimi (Yes, They Call Me Mimi), is a scourge for sopranos as it is scored in not as high a register as the former aria. Here, the high note, which settles in A natural, demands full power and projection. Uy’s high note seemingly lacked depth and brilliance.

Both singers were too far from the orchestra playing in the pit to strike with it a comfortable balance. Mimi failed to keep up with the orchestra’s pace in some parts of her aria, either because she could not see the conductor’s baton well, much more hear the orchestra that was keeping its sweet tempo; or perhaps, the conductor could not hear her either.

 Director Floy Quintos romanticized this scene so much that the music is sacrificed. Why create another “stage,” when the action specified by the original libretto happened right in the same room where Mimi lost the key? The appeal of this poignant dramatic situation thus seemed to have been diminished. Rodolfo and Mimi were so detached from the audience as they introduced themselves to each other through their autobiographical arias and the amorous duet, O Soave Fanciulla (Oh Adorable Angel), that capped the act. Letting Rodolfo sing his aria while ascending the stairs of the platform did not keep the logic of the situation, which demanded that the lovers head to Café Momus to join Rodofo’s friends after wrapping up their arias and duet. Precisely Puccini marked “pp” or pianissimo Mimi’s high C and Rodolfo’s note written a 6th under (mi natural above middle C) to create a ravishing fade-out effect because at this point they should already be off-stage.

Were Rodolfo and Mimi made to sing on the main stage itself, projection could have been more brilliant for better appreciation. And Mimi’s tempo would have kept pace with the orchestra because she or the conductor would have established rapport with each other because of the comfortable distance between them.

Blocking also failed to consider ensemble singing. The singers were too far from each other to ensure crafty blending.

Mimi’s dying scene could have been more vocally effective and therefore more touching had her bed been made to face the audience rather than sideways, parallel to the curtain line. Obviously, it was technically impossible to place the bed facing the audience, as it would have protruded beyond the curtain line. Admittedly, singing while lying flat in bed is more demanding than when one is standing because the diaphragm that serves as a dynamo for breathing is not in its proper position. Because Mimi’s bed was placed parallel to the curtain line, she was once more singing against the space that surrounded her. And since there was nothing in the minimal set designed by Jo Tecson that could have served as some sort of a shell to bounce off the vocal sound, Mimi was thus inaudible to half of the audience seated in the left side of the orchestra section.

Moreover, Mimi could have rendered comfortably the touching aria, Donde Lieta Usci (Mimi Returns Alone) had she sung without that bag that hung on her right shoulder. As it was, the stance she cut was uncomely. She could have picked up the bag after she had rendered this tender song.

One of the production’s plus points, however, was the effective lighting design executed by Monino Duque that eloquently evoked the mood of the music. The brownout scene in Act 1 was effectively handled, with the moon hanging up in the sky that lighted up the garret’s floor for Rodolfo to find the key. When the lights came out, the skyline dotted by billboards sported an appealing spark that elicited much appreciation from the audience. Likewise, the lighting on the plaza that was dotted by a busy flea market in Act 2 was a festive visual delight.

 In addition, the austere casual attire kept the verismo orientation of the opera as it vividly depicted social realism.

 It is obvious that opera is not the cup of tea of Helen Quach, who gloriously conducts symphonic works. Rapport with the singers was weak, and the tempo was quite tentative, especially in Act 1, which begged for a faster pacing. The traditional applause that usually greets the rendition of an aria seemed to have been hushed with the immediate playing of the orchestra. Conducting the orchestra prematurely in Act 4 was a big faux pas. With the sets not in place yet, thank goodness the curtain did not open, and the orchestra simply had to stop.

On the other hand, the chorus was anemic, and needed brilliance.

I missed the parading band of soldiers on the stage in Act 2. Letting them play with the orchestra in the pit did not help foster the mood of festivity of the coming yuletide season.

Despite these shortcomings, we warmly congratulate the POC and CCP for making opera part of the local musical scene. The exposure it has given to our young aspiring opera singers cannot be over-emphasized. POC, the only opera company in the country that regularly produces opera, must continue its admirable task of letting opera gain a strong foothold in our living music-cultural tradition.