* Notes *
The world premiere of Daron Aric Hagen‘s Amelia had a promising opening at Seattle Opera last night. The production, directed by Stephen Wadsworth and designed by Thomas Lynch, is both smart and tasteful. Some of the scene changes were rather noisy, and this was particularly unfortunate as it interrupted the music.
Wadsworth’s story came together in the libretto, written by poet Gardner McFall. The text did not display the awkwardness that marks many contemporary operas. The words fit the music, and the deft overlapping of narratives condensed the plot without being confusing or tedious. Layering of the Icarus myth and the life of Amelia Earhart with the main story line worked surprisingly well. There were a few moments that were ungainly, and it might have been better to be shown rather than to be told, given that this was an opera.
The orchestra, conducted by Gerard Schwarz, sounded lively. The brass sounded clear in Act I, but perhaps had more trouble with the second half. The cello sounded brilliant, especially at the beginning of Act I Scene 2. Hagen’s orchestration could be overgrown, and at times it was somewhat difficult to hear certain arias. However, the use of silence was effective and compelling. There was quite a lot of singing as an ensemble, and the voices were handled astutely. The a cappella section at the end was striking.
The singing was all quite lovely. Museop Kim, David Won, and Karen Vuong were convincing in their duel roles as North Vietnamese villagers and American hospital staff. The voices of Nicholas Coppolo (Icarus/Young Boy) and Jordan Bisch (Daedalus/Young Boy’s Father) were evocative and blended nicely together. As the young Amelia, Ashley Emerson was eerily child-like. Her voice was very pretty, flexible, and youthful.
Jane Eaglen fit the role of Amelia’s Aunt Helen perfectly, and produced a full sound without overwhelming the others. Jennifer Zetlan cut a cunning figure as the Flier, the way she sat on the hospital bed with utter aplomb as Amelia is whisked off was strangely delightful. Zetlan’s voice was piercing, a good foil for Eaglen. Nathan Gunn was fine as Paul, the husband of Amelia, as was Luretta Bybee as Amanda, her mother. William Burden (Dodge) sounded warm and sweet, and could be heart-rending. Mezzo-soprano Kate Lindsey impressed in the title role with her clear, bright voice.
* Tattling *
There was some light talking during the music. A cellular phone rang during Act II as William Burden sang.
This was the first time in many years that I was not in standing room for Seattle Opera, and my press contact for Amelia made sure I was sent to the box office for a seat upgrade. I was right in front of the composer himself on the orchestra level.
The Opera Tattler 
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