Authors: Jimmy Lopez ( music ), Nilo Cruz ( libretto ) from Ann Patchett's novel. At: Lyric Opera of Chicago, 20 N. Wacker Dr. Tickets: 1-312-827-5600; www.lyricopera.org; $20-$299. Runs through: Jan. 17
World premieres at world-class opera houses are costly commitments to the future of the art form rather than the future of individual works, because new operas stand almost no chance of entering the so-called "standard repertory." Explaining why requires a much longer essay. In these few words I must focus on the work itself, perhaps of special interest to WCT readers as the composer and librettist both are out gay artists of global stature.
The thundering, ominous basso brass that opens the work ( think Prokofiev's "Battle on the Ice" in Alexander Nevsky ) immediately signals a score of symphonic proportions and complexity. It remains a brass player's dream throughout, but takes full advantage of every orchestral section. The music of Jimmy Lopez is firmly diatonic ( familiar "do-re-me" scale ) but modern. Bel Canto is not a so-called number opera, which will turn off those who think real operas died with Puccini ( just one reason it's so difficult for new operas to find productions ). If you love opera or contemporary serious music, the very best thing you can do is to see and hear Bel Canto for yourself. A note: Although Lopez is Peruvian, there's nothing Latin about the score which, frankly, surprised me.
The libretto also is complex with over a dozen solo roles sung in at least six languages. No one or two roles are musically dominant ( although some are larger than others ) in a work which finds chorus and soloists onstage together most of the time. The ensemble are leftist terrorists holding diplomatic hostages over the course of more than 100 days, and the hostages never are left unguarded. As in reality, private conversations and moments must be grabbed when they can. This leads to a structure in which there are very few set pieces. Duets, trios, quartets are momentary and fleeting as soloists emerge from the ensemble and melt back into it.
My difficulty with the work is the necessitybuilt into all operas adapted from literary sourcesof reducing story and character development to sketchy proportions. Bel Canto is no exception, adapted from Ann Patchett's 2001 novel based on real-life events in 1996-1997 in Lima, Peru. The basics of who and what are about all Cruz can achieve, along with much poetical language ( which feels Buddhist-inspired to me ) and political rant. The emotional center ( two hostages fall in love with two terrorists ) barely has time to develop and never has time to envelop its audience. The thematic centerin essence, music soothes the savage breastis forcefully raised in Act I and then allowed to fade considerably in Act II.
Bel Canto features the most multicultural company Lyric Opera ever has assembledand kudos for that, as well as a rich visual production relying heavily on Greg Emetaz's sumptuous projections. Director Kevin Newbury and conductor Sir Andrew Davis have distinguished themselves, as have the singers from chorus on up. Would there was time and space to discuss Bel Canto at greater length. It is beautiful singing, although it isn't traditional singing.