Jan. 12 Met (Live): The Enchanted Island
The Met’s ‘The Enchanted Island’ an especially pleasant and lavish place to drop anchor
Despite the clumsy patchwork of two Shakespearian plots, this pastiche of Baroque opera proves a feast for both eyes and ears
By Leah Harrison
Syracuse University's Goldring Arts Journalism Program
How many countertenors does it take to screw in a light bulb? At the Metropolitan Opera’s production of The Enchanted Island on January 12, it took three.
When David Daniels (cast as Prospero) became ill after Act I, Anthony Roth Costanzo stepped into the role, leaving his original casting as Ferdinand vacant for Jeffrey Mandelbaum. Costanzo’s Forgive me, please forgive me aria was stunning, the climactic note of the final phrase penetrating the lavish production with purity — my jaw actually dropped. Mandelbaum handled the transition with less elegance, his nerves causing issues with intonation and a dragging tempo, though his voice had a sweet tone.
The Enchanted Island is a pastiche — a popular genre during the Baroque era consisting of cherry-picked arias from various composers that are appropriated to a new plot. Jeremy Sams produced a hybrid plot of A Midsummer Night’s Dream and The Tempest, plugging in arias, choruses, and dance suites from Vivaldi, Handel, Rameau and others. The choice to produce something with such flexibility allowed the opportunity to alter the notorious tedium of opera from this era, and the production is largely successful even though there are scads of characters with minimal stage time to keep straight.
A pastiche devised in the 21st century (Peter’s Gelb’s good idea) gives way to technology-enhanced opulence befitting the Baroque, and Phelim McDermott was at home with a production suited for imaginative costumes and sets. Prospero’s exotic island is only slightly less exotic than Neptune’s ocean-floor home. From a view of a spinning globe among perfectly shaped clouds, the visual projections dove from outer space to the sea god’s palace, passing outlined continents and furious bubbles as the viewer penetrated the salt water. A giant clam throne flanked with floating mermaids beheld Plácido Domingo, adorned in a composite of a Roman Emperor and blue-green scales, and with trident in hand — the presentation a valentine to the famous tenor. Ariel, Prospero’s spirit, arrived in a comical atmospheric diving suit.
The detailed electronic projections and more traditionally constructed sets (Maurice Sendak-esque trees and vines as well as a ship and waves) worked well together. The shipwreck scene was especially impressive, complete with digital raindrops.
Though Daniels felt poorly, his performance was measured and precise in his portrayal of a frustrated old man trying to set things right. Danielle de Niese, whose mischievous, cheeky character was as endearing as her brilliant coloratura, masterfully sang Prospero’s exuberant spirit, Ariel. Her aria I can conjure you a fire was reminiscent of Peter Pan’s showboating, youthful spirit.
Joyce DiDonato played the spurned sorceress, Sycorax, who steadily regains her strength and beauty as the plot progresses. DiDonato’s performance was flawless throughout, her rich mezzo convincing listeners to embrace her vengeance. The brawny Luca Pisaroni, costumed to look like a combination of Tarzan and Uncle Fester, played Sycorax’s only son, Caliban. Pisaroni portrayed the simpleton with great skill, though it’s hard to hear Pisaroni’s voice as anything but complex and intelligent.
Domingo, whose legendary voice was alone worth the price of admission, delivered lustrous, melting high notes — although his English diction was awkward in Act II. William Christie conducted the singers and instrumentalists with grace, and the tempos were lively. His tempo for the overture was perhaps a bit too quick, but most everything that following was suitable. The Continuo, comprising Bradley Brookshire and David Heiss, used parts taken from pre-existing operas as well as newly composed sections. Various reed solos throughout the evening were beautifully done, especially those by the bassoon.
The shipwrecked quartet of Layla Claire, Paul Appleby, Elliot Madore and Elizabeth DeShong (especially sultry) put forth a fine performance. Lisette Oropesa’s role as Miranda was delightfully sung, her sweet, seemingly effortless voice flitting girlishly throughout the evening.
Some of the musical selections seemed to jerk the plot from light, frothy humor to abrupt anger or sadness. For example, Lysander’s aria Curse you, Neptune did not fit well with the overall tone of the production. His disproportionate anger seemed unnecessary for the plot (Neptune only mentioned it once and had other reasons for emerging from the sea). Moreover, we never again hear from Lysander. Similarly, Prospero’s lamenting forgiveness aria, while beautifully performed and a musical high point of this production, appeared much too serious to match the overall mood. These offenses may not have been so pronounced had they not involved Shakespeare’s plots, which are so remarkably constructed that deviations tend to stand out.
The goal to avoid stagnant stretches common to Baroque opera was largely successful, though a bit awkward during the da capo sections of the arias. In the beginning, there are several moments where Ariel and Prospero circle each other in anger or trepidation, although they’re really just waiting for the music to come around again. You can tell.
Particularly delightful was the Rameau dance suite resulting from a spell Caliban casts after being spurned. A dance troupe of masked figures moved to the lilting French music as if in a trance, enthralling and then frightening the poor monster. The climax of costume came with the unicorn headdress worn by the prima ballerina. As Caliban becomes increasingly concerned about the delights he’s created (like Pinocchio in Funland), Prospero rescues him and dissolves the fantasy.
McDermott’s production maintained excellent integrity with respect to the aesthetic of the Baroque while enhancing the spectacle with modern methods. This ornate experience is a delight to encounter several centuries after its vogue: a present to Vivaldi, if not an abomination of Shakespeare!
Leah Harrison is a graduate student at Syracuse University's Goldring Arts Journalism Program, based at the college's renowned S.I. Newhouse School of Public Communications. A pianist and musicologist, Ms. Harrison holds a master’s degree in musicology from Florida State University and a bachelor’s degree in music history from Converse College. A native of Campobello, South Carolina, Ms. Harrison enjoys professional cycling, travel, and southern mountain music and culture
Details Box:
What: The Enchanted Island, Live at The Met
When: January 12, 2012
Who: Metropolitan Opera
Running time: 3 hours, 35 minutes
Where: Metropolitan Opera House, New York
Live HD Simulcast: January 21, 2012, 12:55 pm ET
Posted by David Abrams at 1/17/2012 9:35 PM 
Categories: Opera reviews, Goldring Arts Journalism Program:Leah Harrison, Metropolitan Opera
Tags: Jeremy Sams Jeffrey Mandelbaum Anthony Roth Costanzo Danielle de Niese Placido Domingo Phelim McDermott Bradley Brookshire Joyce DiDonato David Daniels William Christie Luca Pisaroni David Heiss Elliot Madore Paul Appleby Layla Claire Goldring Arts Journalism Program Lisette Oropesa Elizabeth DeShong
Categories: Opera reviews, Goldring Arts Journalism Program:Leah Harrison, Metropolitan Opera
Tags: Jeremy Sams Jeffrey Mandelbaum Anthony Roth Costanzo Danielle de Niese Placido Domingo Phelim McDermott Bradley Brookshire Joyce DiDonato David Daniels William Christie Luca Pisaroni David Heiss Elliot Madore Paul Appleby Layla Claire Goldring Arts Journalism Program Lisette Oropesa Elizabeth DeShong
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