Authors: George Gershwin, Dubose & Dorothy Heyward, Ira Gershwin
At: Lyric Opera of Chicago, 20 N. Wacker
Phone: 312-827-5600; $32-$185
Runs through: Dec. 19
The stature and popularity of Porgy and Bess have grown ever-greater since its 1935 Broadway premiere. George Gershwin's single and singular work—arguably the first truly American opera score—produced more hit songs than Bizet's Carmen. Its flaws in story continuity are no worse than those of many other operas, while its ambitions are far greater. Not satisfied writing four leading roles, Gershwin also created a dozen more solo roles—several of them meaty supporting parts—plus an immense role for the chorus ( nothing short of fabulous, under chorus master Donald Nally ) which truly functions as a second orchestra and not a mere vocal ensemble. In Porgy and Bess, Gershwin and his co-authors portray an entire community and culture rather than a few individuals. It's like a Frank Capra movie: it's not about George Bailey, it's about all Bedford Falls.
Set in South Carolina waterfront slum, Porgy and Bess is a sweaty story of love, lust, sex and dope tempered by strong African-American Christianity in which faith is solace, and the weight of the community counters those who violate its standards. Even though Gershwin was Jewish, his magnificent music deeply respects the closely-held faith of the Gullah coastal community which it portrays. Blues, gospel, spirituals and jazz: The syncopations and strains are there, along with the African antecedents of them all, as in the pure and primitive extended percussion solo that opens the picnic scene. Indeed, the musical treasures between the famous songs are the great discoveries of this Lyric Opera premiere of P&B, among them the potent hurricane scene, the complex choral polyrhythms and the low woodwind and brass orchestral parts.
For this production ( from Washington National Opera ) , director Francesca Zambello and designers use a 1950 setting, an arbitrary and essentially meaningless choice. The scenic design of corrugated metal doors rising four stories suggests an industrial tenement rather than a crumbling Southern waterfront, thereby stealing local color and salt-air atmosphere. Zambello's fluid and passionate staging otherwise is admirable.
Under Zambello and conductor John DeMain the performances are, at moments, astonishing. As Porgy, baritone Gordon Hawkins is better in his upper range than in his lower, but is a splendid actor throughout, strong yet capable of sensual tenderness. The Bess of Morenike Fadayomi is equally convincing and passionate. Lester Lynch is physically and vocally powerful as villainous Crown ( he plays Porgy Dec. 5, 12 and 18 ) . Hawkins and Lynch are physically similar so there's no physical contrast between Porgy and Crown, which would be better. As Sportin' Life, Jermaine Smith has vocal chops, high notes, comic timing and a dancer's stylish grace ( Denni Sayers, choreographer ) . Supporting roles are equally rich, none more so than the creamy, warm baritone of Eric Greene as Jake.
Don't wait another 50 years for Porgy and Bess to return to Lyric Opera. If you can find a ticket, see it. You'll be glad you did.
