The Opera Tattler

* Notes * 
A sixth Metropolitan Opera performance of John Adams' The Death of Klinghoffer (Act II, Scene 2 pictured left, photograph by Ken Howard) was held last Saturday. There were a handful of protesters with signs reading "Shame on Peter Gelb Met Opera" and so forth. The opera itself is not particularly contentious, if anything, it is a mild, mournful piece. The characters are shown as rather human, and of course there was a choice line from Leon Klinghoffer regretting his hatlessness. One imagines that this production might not be as well-attended were it not for the vehemence of the demonstrators.

The orchestra had a graceful clarity under the baton of David Robertson. The strings were particularly lucid, as were the woodwinds. The Met chorus also sounded strong and cohesive.

The principal singers all seemed suited to their roles. It was a joy to hear former Adler Fellows Sean Pannikar (Molqi) and Maya Lahyani (Palestinian Woman). Bass-baritone Aubrey Allicock had a strikingly disturbing aria as Mamoud in Act I, Scene 2. Baritone Paulo Szot made for an appropriately conflicted Captain. Baritone Alan Opie (Leon Klinghoffer) sang his finale aria with gravitas. Mezzo-soprano Michaela Martens was poignant as Marilyn Klinghoffer, her voice is rich and full.

Tom Morris' production makes use of projected text and historical photographs. The text is somewhat burdensome, and the photographs less so. The effect of the bright sun in Act II is haunting. The dancing, choreographed by Arthur Pita, is impressive, especially in the case of Jesse Kovarsky (Omar).

* Tattling * 
I repeatedly hushed the woman behind me in Family Circle, as she spoke during the quietest parts of the music at the beginning of Act I. She informed me that she was reading the projected text that she could see to the two blind women she was with, and I sheepishly apologized at intermission.

I moved down to the right side of the last row of the Grand Tier to sit with some friends. A young composer seated near us may have spoken quite a lot during the music, but it was difficult muster annoyance at this, having already been so mortified by my own previous behavior.