Robert and Hal, Opera by Richard Brooks
by Eugene W. McBride © 2009
Richard Brooks: Robert And Hal, Opera in Three Acts, Golden Fleece Ltd., Lou Rodgers, producing artistic director, Thomas Carlo Bo, music director. Sanford Meisner Theatre, New York, NY, June 2008
An opera is a daunting, enormous challenge, whether it be successful or not. Dramatically the story must be compelling, musically the composer must meet the demands presented by the story, the librettist must be inspired and concise, talent is required of the stage director, the costume designer, and the lighting specialist. Then there are the performing musicians who are in the pit orchestra and, of course, the singers who must bring the opera to life. Golden Fleece Ltd., The Composers Chamber Theatre, Lou Rodgers, producing artistic director, presented this wonderful opera by the talented and imaginative composer Richard Brooks in a run from June 12th to 15th, at the Sanford Meisner Theatre, NYC. It is a small space that presents difficulties for any production with multiple scenes. These problems were handily overcome by the company. The opera’s librettist, the late Marcia Elder, wrote a libretto that deals with a young man’s awakening awareness of his homosexuality in Victorian England. The tragic plot is set in 1881 when being gay was not to be mentioned. It was a time when Oscar Wilde was tried and convicted because of his sexual preference. Today the struggles of gays have become media events. Far easier to be gay today than in 1881, and yet this opera still treads on thin ice in today’s world. Perhaps this opera will be accepted by many, but the subject matter is, even now, difficult for some. It does take courage to present a work like Robert and Hal; thankfully Golden Fleece has that required courage.
No setting could be more heart-wrenching. Robert, the protagonist, is engaged, soon to be married, to his cousin. Robert’s impending marriage ought to make Robert happy; yet he is aware something is amiss, something is not right but he knows not what until he travels to Paris. (Is this voyage a business trip, or is it to grow up and sow his wild oats?) Upon arriving in Paris Robert meets Hal, an older gay man. Robert falls in love with this expatriate, downtrodden, gay Englishman. Robert’s joy at discovering his true sexuality is soon dashed when his father comes to Paris looking for his traveling son. Arriving at a bar, he inquires whether anyone knows of Robert’s whereabouts. Soon he observes his son and Hal kissing in an amorous embrace. The father’s rage is extreme. He confronts Robert and forces him to return to England for the marriage to his cousin.
Richard Brooks arranged the fine orchestral reduction himself. The arrangement was for piano (Carmela Sinco), violin (Gulia Abdikadirova), cello (E. Zoe Hassman), and clarinet (Hilary Scop). The totally satisfying arrangement was expertly conducted by music director Thomas Carlo Bo. There was fine playing by all the musicians at this performance.
The three-act opera moves quickly, compellingly from beginning to end. Mr. Brooks’ writing is imaginative, effective, and accessible. It is more aligned with traditional musical materials than with the avant-garde. The music is, nevertheless, original and fits/molds the action onstage perfectly. Never is there a dull moment musically or in the story-telling. Matthew Kagen (Robert) has more of a Broadway musical voice than a trained operatic one. Initially I found this distracting, but by the end of the opera he had won me over. The quality of his voice merged with his character. He was engaging and is clearly a talented singer/actor. John Nelson (Hal) was perfect as the expatriate homosexual Englishman. His operatic tenor was satisfying both musically and dramatically. Elizabeth Cherry (Susan, Robert’s intended) is a wonder. She is young, vibrant, beautiful, with a soprano voice that can sing sotto voce, tenderly, or with extraordinary brilliance. Her diction is remarkable; every word was understandable. Other singers were also fine. Charles Coleman (Robert’s father) was wonderful; a big voice, he portrayed the hapless father with acumen. Wendy Brown was very effective as Robert’s mother. Others had less to do but were certainly capable. Calvin Thompson has a magnificent voice and commanding stage presence. Michael K. Lane is yet another talented singer. Adam Samtur was more effective in his dramatic presence than with his vocal abilities.
This opera is a gem. It ought to be presented by chamber opera companies throughout this country, especially those who wish to give their audiences a moving and musical experience.