By Stephanie Cousins
Utah Opera’s Silent Night at the Capitol Theatre in Salt Lake City wows from the first aria to the final bow. The Pulitzer Prize-winning opera by Kevin Puts and Mark Campbell is based on a Fench film entitled Joyeux Noël. A fact-based glimpse into World War I, Silent Night follows a German tenor and his love through the first Christmas of the first great global conflict. Also depicted are a pair of Scottish brothers and an unlikely duo in a French lieutenant and his barber. Puts and Campbell intertwine the stories artfully and give the viewer an intimate glimpse into the personal narratives of the soldiers, bringing home the tragedy and reality of war. The show is appropriately dedicated to those who have entered into military service for their country and most especially to those who have died protecting our freedoms.
Silent Night opens on the stage of a Berlin opera house. The audience is immediately immersed into the performance by the inventive lighting design by Robert Wierzel. The introductory aria, effortlessly sung by Abigail Rethwisch, is interrupted as the house lights come up and war is announced. The three storylines are then introduced as characters head off to war and the battle song of each country is heard offstage. The chorus, directed by Michaella Calzaretta, gives ambiance and interest as they present the original diegetic music faithfully. The first battle sequence with its cacophony of instruments, special effects, and an ingeniously-designed scrim projection by Erhard Rom drive home the pain, chaos, and death associated with battle. This music, while considered “classical,” goes way beyond typical opera fare and challenges the capable singers with musical acrobatics and Ivesian juxtapositions. When three armies sing different songs simultaneously, it is a colorful menagerie rather than discordance . The music is complicated but moving, speaking to the listener’s heart and soul even if not obvious to the ear. The performers handle the feat with beauty and grace.
Each principal proves up to the task, shining in his or her turn. The diction is so precise even the words in unfamiliar languages prove intelligible. Stand out soloists include Efrain Solis serenading the world to sleep, Andrew Stenson baring his heart’s despair and discouragement, and Jonathan Johnson grasping desperately to cope with a traumatic death. Troy Cook moves both the soldiers and the audience with his clear voice crying out for peace. Daniel Belcher makes a friend wherever he goes with his likeable character and jovial voice.
While the orchestra does not technically take center stage, they are indespensible and glorious performers. Deeply moving horn and cello solos open the second act. The violin echoes of soaring vocal lines inspire and emphasize the emotion of the work. The double bass solo innovates and underscores the drama. The orchestra creates palpable tension and tentative peace. It paints the story with widely varied brushstrokes, proving versatile and vital to the story.
The costume detail is incredible. Victoria Tzykun convincingly clothes three different nations’ military men in addition to creating exquisite glittering evening opera regalia. The scenic design by Romis gripping and cinematic, with a cut away view into the trenches and a beautiful memorial that bookends the work. The maestro himself, Robert Tweten, brings all participants, player, musician, crew, and viewer together for an unrivalled sensory experience.
The experience brought to the stage of the Capitol Theatre is made all the more meaningful as World War I is recent enough to be relatable and tragic enough to be unforgettable. It is said that art is created to understand destruction. The hope, the despair, the love, the hate, the apathy, and the passion are all viscerally exposed on this one Silent Night. The highs and lows musically and emotionally leave the audience with a lot to think about, and a lot for which to be grateful.
PLEASE NOTE: Silent Night contains dramatic war combat sequences which include theatrical haze, strobe lighting, loud explosions, gunshots, and stabbings. Not recommended for young and/or sensitive viewers.
Utah Opera Presents Silent Night, by Kevin Puts and Mark Campbell.
Janet Quinney Lawson Capitol Theatre, 50 W 200 S, Salt Lake City, UT 84101
January 18, 2020 7:30 PM; January 20, 2020 07:00 PM; January 22, 2020 07:00 PM, January 24, 2020 07:30 PM; January 26, 2020 02:00 PM
Tickets: $14.50 to $102.00
Contact: 801-533-NOTE, 801-533-6683
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4 Reasons Why You Don’t Want to Miss Silent Night
Stephanie Cousins, Utah Opera, Capitol Theater, World War I, French, German, Italian, English, Salt Lake City, A Capella, Choral, Live Orchestra, Local Artists, Kevin Puts, Mark Campbell, Joyeux Noel, Film to Stage, Robert Tweten, Tomer Zvulun, Conor Hanratty, Erhard Rom, Vita Tzykun, Robert Wierzel, Craig Irvin, Erhard Rom, Joyeux Noel, kathleen sykes, Silent Night, Vita Tzykun, World War I, Julie Poe McBeth, Christopher McBeth, Abby Rethwisch, Michaella Calzaretta, Chad DeMaris, Simpson College of Music, Front Row Reviewers, Celebrating the GOOD in the Arts, Opera
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