That is, Wuthering Heights, the opera, by Bernard Herrmann. Which I saw last night, staged by the Minnesota Opera.
(c) Michal Daniel
Where to start? How about with the exemplary work done by the MN Opera? They took a one-off obsession project composed by Hollywood heavyweight Bernard Herrmann (he composed scores for movies like Vertigo, North by Northwest, Psycho, and Taxi Driver) and poured a tremendous amount of creativity and thought into the production. Herrmann's opera composition is, not surprisingly, very cinematic in sound, and in fact almost sounds as if the orchestra was the focal point, not the opera singers themselves. The orchestra was in fine form (as were the singers), delivering lush, tension-filled music.
The staging was brilliantly designed to complement the cinematic music. Wuthering Heights itself was a dramatic, gothic building, while Thrushcross Grange was a cozier, sweeter place. More intriguing was the use of projections and scrims that allowed the Opera to create seasonal scenes--flowers or leaves blowing in the wind, snow falling--as well as ghostly apparations looking through windows. It was beautiful, great eye candy, and worked perfectly with the story and the music.
(c) Michal Daniel
So here's the thing: I give huge props to the Minnesota Opera for tackling this piece and creating something beautiful.It's only the second time it's been performed since Mr. Herrmann completed it in 1951.
But.
The opera itself--so sorry, Mr. Herrmann--is not really a success. The Minnesota Opera trimmed it back quite a bit to just under three hours (in its original form, apparently it ran to almost four hours--and it only covers the first part of the novel, up to the point where Catherine dies), and it still felt draggy in spots. The friend with me agreed that the Mr. Herrmann's musical talent seemed more focused on the orchestral pieces, which were often beautiful, but the vocal parts seemed more like filler, or bits of necessary evil to keep the story moving along.
And speaking of the story...
If you haven't read the book, you might find it somewhat hard to understand--or care--about what's going on. The opera opens as the book does, with Mr. Lockwood's arrival, but after that Mr. Lockwood disappears. Heathcliff, Catherine, and Hindley are all tossed on stage with explanations as to their relationships delivered later. Hareton makes an appearance with no explanation at all and seems only to serve a brief purpose of showing Heathcliff's monstrous behavior.
Heathcliff and Catherine are quite possibly the two most unlikable--downright hateable, maybe--romantic leads in history. But Herrmann takes the odd approach of presenting them at first as serene, joy-filled creatures frolicking in nature, a well-matched, kindly pair. If you don't know what's coming, it's a shock to see them change with little explanation.
It may be that Herrmann was using them as a metaphor for nature in general and the moors in specific, places that can be beautiful and harmonious, then cruel and killing with little warning. I get that. But he simply doesn't give us enough insight into their characters to make us care. Like I said, in the novel they're downright repellent at times--but always compelling, and that's lacking from Mr. Herrmann's lackluster and oddly chosen plotting.
(c) Michal Daniel
In fact, possibly the most telling sign of something not being quite right was at the end, when most of the audience, while applauding loudly, did not stand. This is Minnesota--if Rebecca Black showed up at a local Starbucks and sang Friday, we'd probably stand up. But I think last night people were puzzled. The production? Wonderful. I'd have stood for that. But the opera itself? Not so much.
So: hurrahs and huzzahs for the wonderful work on the part of the Minnesota Opera. But not so much for the (operatic) work of Mr. Herrmann.
Thanks to the Minnesota Opera for providing me with tickets to Wuthering Heights.
