Composer: Richard Danielpour;
Libretto: Toni Morrison.
At: Auditorium Theatre of
Roosevelt University, 50 E. Congress
Phone: 312-902-1500; $40-$150
Runs through: Nov. 9
BY SCOTT C. MORGAN
It has been decades since grand opera played at the historic 1889 Auditorium Theatre of Roosevelt University. So with the Chicago premiere of Margaret Garner Nov. 1, practically everything was in place to mark the triumphant return of opera to Dankmar Adler and Louis Sullivan's acoustic and architectural marvel.
Direct from Detroit's Michigan Opera Theatre where it debuted in 2005, Margaret Garner features spectacular singing, a fluid staging by director Kenny Leon and a truly American subject matter that lends itself to the heightened emotions of opera.
Alas, what prevented the occasion from being perfect was the opera itself.
Margaret Garner suffers from a weak libretto. I know it is sacrilege to say so, especially since Nobel laureate Toni Morrison penned it.
Like Morrison's acclaimed novel Beloved, Margaret Garner is based upon a shocking incident in American history.
In 1856, fugitive slave Margaret Garner and her family were facing recapture in Ohio. Rather than see her children return to slavery, Garner stabbed them. Her resulting trail was controversial because pro-and anti-slavery factions argued whether Garner should be tried for murder or destruction of property.
With so much complex material to work from, it's surprising how dramatically inert and overly simplified Morrison's libretto can be. Many of Morrison's lyrics would read wonderfully on the page, but come off as oddly positioned and ponderous on stage. ( The whole metaphorical business of 'the nature of love' during the wedding reception was particularly labored. )
Also, Morrison focuses too much attention on puffed-up slave owner Edward Gaines when you'd rather learn more about the opera's title character.
Despite the problematic libretto, composer Richard Danielpour has created a melodic score of Americana with patches of Stephen Foster, gospel music and spirituals woven throughout. Conductor Stefan Lano brought out many colors in Danielpour's score and helped the cast to vocally shine.
Denyce Graves' dusky mezzo was a pillar of strength for Margaret ( Tracie Luck finishes the rest of the run ) and was matched by the muscular sound of baritone Gregg Baker as Margaret's husband, Robert. ( Leonard Rowe plays the role on Nov. 8. )
James Westman was a melodramatically villainous bass as Gaines, with tenor Jason Collins adding more dastardly drama as slave foreman Casey.
Two lovely sopranos to look out for in the future are Kristine Biller Mattson as the abolitionist-leaning daughter, Caroline, and Mary Elzabeth Williams as Robert's mother, Cilla. ( Karen Slack alternates in this role. ) Williams' vocal range was particularly stunning.
So even if Margaret Garner is flawed as an opera, its appearance at the Auditorium is still an important occasion. Just being able to hear opera soar through the glorious acoustic of such a landmark theater is heavenly.
