Classically Speaking

I’d never seen Ambroise Thomas’ Hamlet, nor was I acquainted with the music, so you could say I started with a clean slate. I liked it.

Now, if you’re a raging Anglophile and/or don’t like anyone messing with your Shakespeare, don’t bother with this. I think it’s closer to the Dumas version of the story. Let’s just say, Thomas and the librettists took “liberties” with the plot and characters. This may explain why the opera didn’t inspire much interest early on – like for a century!

If the goal was to pare down the cast and eliminate the Bard’s web of plots however, this is a successful tale. The music was pleasant enough, although not memorable. I didn’t come out humming any melodies.

The production was spare and somber. The sets were high, dark curving walls that moved to provide a plethora of backdrops, often leaving the stage almost barren. This did allow for some effective lighting, throwing huge shadows on the walls. It probably played better on the screen than live on stage at the Met.

The chorus costumes were dark hues: black, grey, brown. Only the principals wore any color, and that was effective. While you usually don’t see stark white on stage, both the ghost of Hamlet’s father and Ophelia were dressed so. Of course, it made perfect sense for the ghost. Ophelia looked as if she was ready to be wed at a moment’s notice, which she was. And it showed up the blood really well. Oh yes, she doesn’t drown in the lake. She stabs herself. Several times. And of course, she negotiates quite an extended coloratura ‘mad scene’ at the same time.

One of the best qualities of the production was the acting and singing of the British baritone Simon Keenlyside as Hamlet. He was especially effective in this HD version which allows for those magnificent close-ups. He’s an astonishing presence on stage.

The coloratura Marlis Petersen was brought in after the original Ophelia canceled because of illness. The German soprano finished a run of Medea in Vienna and hopped a plane for New York with barely a week’s notice. She made for a very fragile and introspective Ophelia, but perhaps not as “mad” as expected from Natalie Dessay.

I particularly enjoyed the performance of mezzo-soprano Jennifer Larmore as Gertrude. She’s Claudius’ accomplice in this version (as is Polonius by the way). Her blood red, and mustard green/brown costumes were richly conspiratorial. She’s a scene stealer.
 
Toby Spence’s Laertes was a tenor relief in a sea of baritones and basses.
 

I understand this HD experiment has drawn great audiences. Even the Huntington Cinemark audience has grown, perhaps doubled in attendance since the first offering I saw last fall. One of the strong attractions is the cinematic quality, but it also has its drawbacks.

You see the singers in close-up, something that would never happen in the opera house. However, the voices are transmitted through audio equipment, and thus always heard and always in balance. You see only the director’s focus, rather than the expanse of stage of a full production. So in a sense these HD offerings are not totally “live.”

These qualities are particularly welcomed by younger audience members, accustomed to the wonders of cinematography. This may or may not result in a new audience for live opera however. It might also divert attention and funding from local productions. Only time will tell.

But don't take my word for it. See for yourself. There's an encore presentation Wednesday, April 14 at 6:30 pm.. The final offering of this season is Renée Fleming starring in Rossini's Armida - another unknown to me. Check 'em out!