Opera Parallele's Doubt
Douglas J. Cuomo’s Opera is Based on John Patrick Shanley's Play
* Notes *
Opera Parallèle gave the world premiere of the chamber version of Douglas J. Cuomo’s Doubt last night in San Francisco. The playing and singing were all up to the very fine standards of this company.
Based on John Patrick Shanley’s play of the same name, the libretto, also by the same author, is spare and ambiguous. The very talented singers (pictured, photograph by Stefan Cohen) brought the full dramatic force of the words down to bear.
Mezzo-soprano Deborah Nansteel convinced as Mrs. Miller, it was startling to hear her strong, textured voice being so pragmatic, and telling Sister Aloysius that it is “only until June” that her son has to deal with possible abuse. Mezzo-soprano Naomi Steele was a stark contrast as Sister James, her sound is much sweeter and she definitely conveys the innocence of a young, naive nun.
Baritone Matthew Worth showed his range as Father Flynn, very charismatic and at times more menacing. I was most impressed with soprano Rhoslyn Jones as the terrifying and relentless Sister Aloysius. Jones was an Adler Fellow at San Francisco Opera, and it’s nice to hear how much she has grown as a singer since that time. Her voice has such a clarity and compelling emotion to it. When she sings about not appreciating music in favor of listening to the news, it was especially amusing.
Conductor Nicole Paiement, as always, shapes the music and gave it some beautiful lines. The soli from woodwinds and strings were powerful. Cuomo’s music is effective, and shows his many influences. It is not surprising that he composes for television and film.
Director Brian Staufenbiel makes good use of the small Presidio Theatre, even though the stage is shared with the orchestra. There are a number of arches with windows and doors, props are simply brought on stage and projections are used on the walls to the sides of the stage. The experience is rich and full without having anything gratuitous.
* Tattling *
There was not much bad behavior noted, though I did hear a phone at the end of the opera, when there was a quiet moment, but it seemed to be coming from behind the stage.
A woman in Row F had moved there from the center section as there was apparently a massively large man in front of her. She had to shift seats in the row as the patrons in F 1 and 3 arrived. It was funny to note that those in Row E were rather slight.