Interludes

VIEWPOINTS – Composer Ricky Ian Gordon impressively debuts a pair of new operas in quick succession: INTIMATE APPAREL & THE GARDEN OF THE FINZI-CONTINIS

• By drediman
• February 10, 2022
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In recent weeks, composer Ricky Ian Gordon pulled off quite the hat trick by impressively debuting two new operas (with different librettists and creative teams) in quick succession. Here are my thoughts on them.

INTIMATE APPAREL
Lincoln Center Theater at the Mitzi E. Newhouse
Through March 6

First up is Mr. Gordon’s operatic adaptation of Lynn Nottage’s play Intimate Apparel (HIGHLY RECOMMENDED), which is being presented Off-Broadway by Lincoln Center Theater at the Mitzi Newhouse. Even in its altered form, the opera tracks remarkably closely to the underlying play (Ms. Nottage also penned the libretto). This isn’t usually the case for operatic adaptations, which have had to distill plots to their highlights out of necessity. This feat is achieved by way of Mr. Gordon’s conversational style of music theater (cleanly orchestrated for a pair of pianos) – which emphasizes artfully melodic recitative-like scoring (often appealingly incorporating elements of turn-of-the-century ragtime) over the elongated expressionism afforded by arias – as well as his highly incidental and cinematic approach to storytelling. In this latter regard, director Bartlett Sher has done a gorgeous job (despite a slow, expository start) of realizing Mr. Gordon and Ms. Nottage’s vision through his unfussy and understated staging, which elegantly moves the plot forward via the resourceful use of a turntable. He’s also elicited some convincing performances from his outstanding cast of singing actors. In the central role of Esther, clarion-voiced soprano Kearstin Piper Brown is deeply touching as a Black seamstress whose search for love and intimacy forms the arc of the piece. It’s a simmering, star making performance that shouldn’t be missed. Overall, Intimate Apparel delivers that kind of nuanced, fully satisfying drama that’s uncommon in opera.

THE GARDEN OF THE FINZI-CONTINIS
Co-produced by New York City Opera and National Yiddish Theatre Folksbiene at the Museum of Jewish Heritage
Closed

Then at the Museum of Jewish Heritage, we have New York City Opera and National Yiddish Theatre Folksbiene’s co-production of Mr. Gordon and librettist Michael Korie’s operatic adaptation of The Garden of the Finzi-Continis (SOMEWHAT RECOMMENDED), which is based on Giorgio Bassani’s 1962 novel of the same name (which was also adapted in 1970 by Vittorio De Sica into a film starring Dominique Sanda and Helmut Berge). Set in Italy, the opera tells the epic story of an upper class Jewish family on the eve of World War II and the subsequent fate they meet. Mr. Gordon and Mr. Korie’s score operates in the same vein as the one for Intimate Apparel. That is, its conversational and cinematic characteristics allow for eventful storytelling. However, despite some richly evocative moments in Mr. Gordon’s music (richly orchestrated for a mid-size orchestra), Mr. Korie’s plotting lacks the organic quality of Ms. Nottage’s libretto. Additionally, too much narrative has been packed into the opera, resulting in a long, wearing three hours in the theater. In fact, much of the storytelling is quite clunky, which is not helped at all by Michael Capasso’s barebones, awkwardly suggestive staging (which liberally uses projections to establish the setting). The production’s tone is uneven throughout and is particularly off in an embarrassing near-rape scene late in the second act. For a production its size, The Garden of the Finzi-Continis features a luxuriously large cast, most of whom possess terrific operatic voices. However, their acting abilities were at various levels of adequacy and often left much to be desired.