Vanessa

Reviewed by Holly Bartges

If looks could kill, the Baroness would take home the Grand Prize. Behind the piercing glare, lives a beautiful smile. In Central City Opera’s magnificent production of Samuel Barber’s American Opera, Vanessa, the smile is never seen. Not until overwhelming applause when the Baroness resumes her stance of silence with her granddaughter, Erika, and the orchestra plays its last note, does the smile appear. With few lines, and fewer bars to sing, the commanding, demanding presence of the Baroness nearly steals the show. Behind the Baroness’ mask of a cold shoulder lives mezzo-soprano, Victoria Livengood. What an honor for Central City to capture this international Metropolitan Opera star. The New York Times called her “naturally seductive and vocally alluring,” and I would add a master of silent communication.

Theodore Chletsos (Anatol) and Emily Pulley (Vanessa) in Vanessa at Central City Opera. Photo: Mark Kiryluk

Her straight as a ramrod royal stance, and her icy cold demeanor toward her lost in the woods wounded daughter, Vanessa, the Baroness makes the heavy cold snowstorm whirling frustration outside seem like a happy spring shower.

Sung and beautifully acted by soprano, Emily Pulley, Vanessa has waited 20 years for her love, Anatol to return. In her fairy tale mind, she has shut down the house from all visitors, insisted on having all the mirrors and a large portrait of her covered. Twenty years is a long time to sit and do nothing but wait. In Barber’s expressive music, this mystical, magical scenario takes place without question. The Baroness has stopped speaking to her. Vanessa’s niece, Erika, sung by the magnetic mezzo-soprano, Leah Wool, run the house, managing the servants while Vanessa waits.

Word arrives. Anatol is on his way. A blustering snowstorm swirls outside; Erika goes over the menu for an intimate dinner between Anatol and Vanessa. The storm infringes on Vanessa’s nerves. After 20 years, an additional hour or two becomes more than she can bear. Erika keeps order. The Baroness is glued to her determined silent glare.

It is Anatol, all right, who finally arrives, but not the Anatol Vanessa expects. Her long lost love has died, and before her stands his son. Tenor, Theodore Chletsos, does justice to the younger Anatol, by singing an outstanding score, and showing the weasel Anatol really is. He comes to honor the woman his father never forgot. With hints of his family being broke, it is more than obvious he slithers in the wanting of money. He woos Erika on the first night when Vanessa wants him thrown out of the house. He buys time to allow Vanessa fall in love with him, while he plays the smooth cavalier. He’s nothing but an oily cad in wolf clothing. The only one he doesn’t fool is Vanessa. Chletsos provides the character one loves to hate, and provides it with perfection.

The family doctor, who by his own admission is not a good one and should never have becomes a doctor, compensates as a comedic luscious lush. Played and sung by bass-baritone, Patrick Carfizzi has graced the Metropolitan Opera stage many times. As the Doctor he demonstrates enormous talent with the marriage of acting, comedic timing and opera. Amusing and amazing, he has a voice that could melt the Baroness’ heart, though she wouldn’t show it if her life depended up on it.

Under the astute and exquisite direction of John Moriarty, the orchestra triumphs with Barber’s enchanting, playful, dramatic, and haunting musical score.

Commissioned to write an opera in 1924, it took Barber a decade to find the right person to write the libretto. Dylan Thomas agreed, but World War II interrupted the plans. He talked with Thornton Wilder and James Agee, only to find the right person underneath his nose, Gian Carlo Menotti, his own partner. Menotti had already written several operas, but never the libretto for someone else. It took four years to write, but when Vanessa hit the boards at the Metropolitan Opera on January 23, 1968, it was an immediate success.

Sung in English, Central City provides subtitles, but the voices so crystal clear, the subtitles almost unnecessary.

The breathtaking set designed by Michael Lasswell beautifully depicts the ice palace, the surrounding woods, and the isolation of the surroundings that bleeds onto the household, and every member in it.

If there are any flaws anywhere in this production, they certainly aren’t obvious. Every member of the cast knows the importance of acting the part as well as singing with perfection. Under the direction of Michael Ehrman, this unrealistic, surreal fantasy dismisses the obvious questions? How could anyone, put his or her life on hold for 20 years? Why did the Baroness stay under tormented icy conditions, and why would Erika want to consider staying? Doesn’t anyone have a life? Doesn’t anyone want a life? Knowing what she knows, why would Erika repeat her aunt’s path? And why didn’t she blow the lid off the entire situation when she discovers she is pregnant? So meticulously tied together, magnetically performed, the music deliciously compelling, the questions don’t matter. It’s their lives given to us with such full force, the mouth is too busy being propped open in awes to bother with silly questions in logic.

If the thought of opera scares or eludes anyone, this is the one to experience. Call early for reservations. They may not be easy to come by.