* Notes *
The world premiere of Heart of a Soldier (Act II pictured left, photograph by Cory Weaver) given by San Francisco Opera last night. The opera is about the life of Rick Rescorla, the director of security of Morgan Stanley who lost his life as the in the September 11th attacks after evacuating 2,700 people from the World Trade Center. The first half of this ambitious work covers 28 years of Rescorla’s story, with five different scene changes spanning four continents. The act is only an hour long, so it is great deal of narrative jammed into a tiny space. Basically, this means a lot of recitative and the need for quick scene changes. Librettist Donna Di Novelli’s words seem to take precedence over composer Christopher Theofanidis’ music. The second half deals with Rescorla’s last three years in New Jersey and New York. Here the ensembles, duets, and arias are less burdened by having to tell the story. The ending was particularly strong.
Director Francesca Zambello’s style suits this opera, as the characters are of course very human, being based on real events of recent memory. The set, designed by Peter J. Davison, has some movement, but is transformed by Mark McCullough’s lighting and S. Katy Tucker’s projections. The result was mostly a success, though sometimes the layering seemed overwrought. Also, having the towers so far upstage was a challenge for some of the singers. The choreography seemed natural, everyone moved nicely and with ease.
Maestro Patrick Summers had the orchestra sounding clear and flowing. The chorus sounded together and robust. The rest of the cast boasted many fine singers. Michael Sumuel (Ted, Tom) sang with warmth and nuance. Nadine Sierra was plaintive as Juliet. Melody Moore was convincing as Susan Rescorla, her voice clear-toned and arresting. William Burden too was persuasive as Rescorla’s best friend, his duets with Thomas Hampson (Rick Rescorla) were quite beautiful. Hampson sang enthusiastically, and his charismatic presence is commanding.
* Tattling *
The evening began with “The Star-Spangled Banner,” and a fluttering American flag was projected on the scrim. The audience was impressively quiet, there was no late seating on the orchestra level, and almost no whispering.
The Opera Tattler 
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