Tanglewood, Lenox, MA
July 11, 2013
by Michael J. Moran
 |
| John Harbison |
Fitzgerald’s classic novel has been memorably adapted on
film at least five times, on stage at least once (“Gatz”) and, in 1999, as an
opera for James Levine and the Metropolitan Opera by composer John Harbison,
who also wrote his own libretto. A revised version of the opera was powerfully
presented at Tanglewood by the orchestra and chorus of Boston-based Emmanuel
Music led by their artistic director Ryan Turner and joined by twelve vocal
soloists.
Harbison notes in the program book that the opera began gestating
when he wrote a short orchestral piece, Remembering Gatsby, for the Atlanta
Symphony in 1985 which later became the opera’s overture. While its music
suggests influences as diverse as Barber, Messiaen, and Britten, the opera
creates a distinctive sound world all its own. Part of its unique sound is the
interweaving of popular tunes sung in 1920s style by a “radio singer” and a
“tango singer” when a radio plays behind some of the action. These songs sound
like familiar hits of the era, but they were all written by Harbison, with
lyrics by Murray Horwitz.
The same ensemble performed “Gatsby” in Boston two months
ago, and their experience with the piece added poignancy and depth to this
production. All the soloists did fine work, but three performances were
especially distinguished. Soprano
Devon Guthrie brought warmth and vulnerability to Daisy; tenor Gordon Gietz was
a tormented but dignified Gatsby; and baritone David Kravitz carefully balanced
emotional involvement with distance from the other characters as narrator Nick
Carraway.
The production made imaginative use of Ozawa Hall’s limited
stage space, with chorus members entering and leaving periodically from
backstage and even appearing on the first balcony in the closing funeral
scene. The virtuosic orchestra
included a “stage band” which played idiomatic twenties-style dance music
during the party scenes.
The personal meaning of this triumphant evening for
Harbison, whose career has deep ties to both the BSO and Emmanuel Music, was clear
in his beaming smile when he joined the performers on stage for a well-deserved
curtain call from a large and enthusiastic audience.
