Two recent musical events summed up the spirit of the holiday season with messages of love and good cheer. The San Francisco Symphony's "Messiah" and Opera Parallele's "The Little Prince" also provided some much-needed moments of reflection. Both works were returning due to popular demand, and while their musical language couldn't be more different, each deals with life's mysteries with a wealth of good tunes and sincere wonder.
An annual visit to Davies Symphony Hall and a stroll through the trees and festive decorations is a tradition for many, and Handel's "Messiah, a Sacred Oratorio" always provides a glittering centerpiece. Overtly religious and rather lengthy, only the first third of the piece is about the birth of Jesus. The composer's dramatic structure and gift for melody make the carefully chosen texts, originally conceived for Easter, move imaginatively to a celebratory final "Amen." Most attendees stand during the famous "Hallelujah Chorus," but the origins of the practice are uncertain. An appreciation of Handel's genius is all that's needed to respect his general theme of hope.
There is no definitive version, and performances usually rely on the abilities of soloists and instrumentalists for success. British conductor and musicologist Jane Glover, admired for her knowledge of the Baroque and Classical periods, made her SFS debut in 2006 with a "Messiah" fashioned to please more contemporary tastes. She opted for the middle ground again, blending "authentic" and modern performance practices. The resulting sound was mellow, offering a plush backdrop for the ornamentation of the vocalists.
Tenor Nicholas Phan was powerful, proving his versatility in musical styles. Baritone Joshua Hopkins commuted from the War Memorial Opera House, where he recently completed a praised run as the hero's brother in "It's a Wonderful Life," to bring strong focus to his solos. All of the singers used subtle control in their embellishments. The results proved extraordinarily dramatic.
Mezzo-soprano Elizabeth DeShong's clear tone and intensity made the air "He was despised and rejected of men" genuinely moving. Soprano Ying Fan, making her SFS debut, revealed a lovely, pure voice that matched Glover's freshly cleaned interpretation. Principal Trumpet Mark Inouye added triumphant brilliance, and his orchestral colleagues played in expert unison. The mighty SFS Chorus directed by Ragnar Bohlin won a huge and deserved ovation.
Heart trails
The cover of the printed program for Opera Parallele's return engagement of Rachel Portman's magical opera "The Little Prince" declared, "On a journey to the heart, a child leads the way!" An enchanting performance proved the statement and showed that kids can also teach us a lot about life. Antoine de Saint-Exupery's beloved novella turned 75 this year. Composer Portman and librettist Nicholas Wright first presented their musical adaptation at Houston Grand Opera in 2003. Opera Parallele's new production premiered in 2017 as a perfect addition to Bay Area holiday offerings.
Produced in collaboration with the award-winning San Francisco Girls Chorus, the OP creative team, led by artistic director/conductor Nicole Paiement and creative director Brian Staufenbiel, took the show to Marines' Memorial Theatre this year. Colorful illustrations and kinetic media design by Matt Kish and David Murakami, sweetly naive choreography by Yayoi Kambara, and ingenious costumes by Christine Crook brought Saint-Exupery's philosophical tale back to vivid life. A talented ensemble of actor singers both amused and touched us in a fast-moving parade of insightful episodes.
The production also featured a feminist slant, as women and girls portrayed principal characters. The message of the story felt all-encompassing.
Mezzo-soprano Eve Gigliotti was warmly convincing as The Pilot. Stranded in the desert after a crash, she encounters The Little Prince (Sophia Stolte and Erin Enriquez alternating performances), who has fallen to the Sahara from a tiny asteroid. I saw Erin Enriquez in the part, and was captivated by her beautiful voice and endearing innocence.
Mezzo-soprano Kindra Scharich was finely nuanced as The Fox, who teaches the Prince the meaning of loving care. Soprano Sabrina Romero-Wilson portrayed The Rose with funny narcissism, and soprano Maggie Finnegan was mysteriously alluring as The Water. Soprano Christabel Nunoo as The Snake (not so evil after all) made an indelible impression.
The men did double duty in character parts and hilarious chorus roles. Locally well-known tenor Samuel Faustine was affecting as The Lamplighter/Drunkard. Tenor J. Raymond Meyers (remembered from West Edge Opera's "Snapshot" showcase) rocked a hysterical Elvis impersonation as The Vain Man. Baritone Zachary Lenox was amusingly bluff as The Businessman. Bass-baritone Philip Skinner (great appearances at the SFO and SFS) was just right as The King.
As the chorus of stars and birds, Members of the San Francisco Girls Chorus Level IV Ensemble (prepared by Level II Director Katrina Turman) moved through the audience and stage with amazing assurance and commitment. Nicole Paiement conducted Keisuke Nakagoshi, piano, and Joel Davel, percussion, in a clever orchestral reduction of Portman's rich and catchy score that sounded bright and remarkably full.