The San Francisco Opera's ambitious summer season opened recently with a Sunday matinee of a (virtually) complete The Trojans (Les Troyens) by Hector Berlioz. Meeting the massive challenges of the physical production without a hitch and brilliantly showcasing a cast of internationally recognized artists, the venerable old War Memorial Opera House certainly put the grand back into grand opera.
With a runtime of approximately five hours including two intermissions, some demands are made on the audience as well, but given the historical significance of the event and the outstanding presentation, even the many standees throughout the house endured to the final curtain, always a good sign. When the dazzling marathon was over, everyone still had energy to cheer marvelous mezzo-soprano Susan Graham at an affectionate post-performance celebration honoring the 25th anniversary of her debut with the company and the presentation by General Director David Gockley of the San Francisco Opera Medal.
Hard to believe La Graham has been singing for local audiences for a quarter-century now, especially after witnessing her remarkably fresh-voiced and beautifully paced performance as Didon (Dido) in The Trojans at Carthage, the lengthy second part of the two operas that comprise Berlioz's complete masterwork.
The first two acts are titled The Capture of Troy and feature a very different but likewise agitated leading lady at the center of attention. For most of the run, soprano Anna Caterina Antonacci sings the part of Cassandre(a), mythic princess of Troy, cursed (everyone thinks she is crazy) with the gift of prophesy.
Michaela Martens will make her SFO debut in two performances as she portrays Virgil's legendary party-pooper, but, while Antonacci scored thrillingly in a role she is already famous for, there is little worry the production will diminish without her.
With so much to recommend it, original director David McVicar's masterful exercise in crowd control and gripping spectacle should prevail, especially if the musical values stay at such a high level. There is much to thank conductor Donald Runnicles for in that department. The former music director of the SFO and himself a recipient of the San Francisco Opera Medal in 2009 has returned to the podium for the entire run. His reputation for mastery of the long form is wonderfully maintained, and he received some of the most heartfelt and thunderous ovations of the afternoon. Runnicles' control may have smoothed over some of the exquisite orchestral detail, but his timing still allowed for appreciation of the big arias and choruses without dawdling or rushing things along.
Ian Robertson's SFO Chorus also assumed their most demanding assignment in years with characteristic aplomb. The epic starts and ends with big choruses, and extended crowd scenes require exceptional acting and singing abilities. Dressed in the rich costumes of designer Moritz Junge and moving believably in step with revival director Leah Hausman's careful re-creation, they added great dramatic impact.
Of the other excellent members of the cast, tenor Bryan Hymel showed remarkable stamina and ringing purity of tone as Didon's tormented lover Enee (Aeneas). Mezzo-soprano Sasha Cooke also (and predictably) delivered a sympathetic portrayal of Didon's sister Anna. Baritone Brian Mulligan as Cassandre's skeptical betrothed Chorebe (Coroebus) was especially strong, holding up to Antonacci's pyrotechnics with comparable passion, and Adler Fellow tenor Chong Wang sang a hauntingly beautiful lament in the last act as Helenus (he sang the role of Hylas in Part 1).
In keeping with the full presentation of the vast score, ballet interludes were included. An athletic ensemble of acrobats and dancers fleshed out the surprisingly mediocre maneuvering of the production's original choreographer, Lynne Page (associate choreographer here: Gemma Payne). The famous Royal Hunt and Storm opening Act IV sounded great, but was confusing in context with the dancers attempting gamely to further the plot in a vague combination of mime and dance routine. It was a small complaint amidst the many amazing theatrical and musical riches.
The monumental sets by Es Devlin and the vivid lighting by Wolfgang Gobbel (Pia Virolainen for SFO) are themselves a worthy reason for attending.
The reasoning behind McVicar's moving the action to the period of the composition, and costuming Trojans and Greeks in attire of the Crimean War, seemed somewhat needless (okay, history often does repeat itself), but at least it afforded the design team free rein. A grim and spooky vision of doomed Troy and a gorgeously sundrenched contrasting picture of Carthage were simply eye-popping, and we wouldn't want to miss that breathtaking mechanical Trojan horse, either.
The Trojans continues at the War Memorial Opera House on Sat., June 20; Thurs., June 25; and Wed., July 1.