RC 2

Directions for questions 39 to 41: The passage given below is followed
by a set of questions. Choose the
most appropriate answer to each question.
A few weeks after local audiences saw mezzo-soprano Denyce Graves
withdraw from Opera New Jersey's
production of "Carmen," only to find substitute Kirsten Chavez singing
the role at least as well, the Metropolitan
Opera has had to contend with a last-minute cancellation of its own.
Last night at the premiere of the new production "Hamlet," soprano
Marlis Petersen took over the role of
Ophélie for the indisposed Met favorite Natalie Dessay. Petersen, who
had only a few days of rehearsal,
performed admirably. But one couldn't help but wonder what the
production might have been with the
original cast.
When the Metropolitan Opera decided to bring back Ambroise Thomas'
"Hamlet" after more than 100
years, the choice may have been less about recovering a forgotten
jewel from the vault and more about
showing off serious star power.
The French composer's 1868 opera provides a rangy showcase for the
title character and a highly affecting
mad scene for Ophélie – an ideal vehicle for baritone Simon
Keenleyside and Dessay. Keenleyside proved
an optimal choice. But his co-star was missed for her nuanced singing
and dramatic abandon as well as
her established connection to Keenleyside. The two had already
performed and recorded the work.
It's hard to say, though – if even all singers had fit perfectly in
their roles and if the chemistry had been
strong – whether or not the Keenleyside-Dessay pairing would have been
enough to carry the opera.
It would be easy to take issue with Thomas' "Hamlet," which doesn't
adhere to Shakespeare. There's no
Rosencrantz or Guildenstern, Ophélie stabs herself following a mad
scene, the ending has been changed,
and only the basic story of revenge and collapse remains.
But Thomas' music simply isn't as strong as music by other composers
who have taken on the Bard, from
the obvious Verdi, to Gounod, who, like Thomas, held fast to French
traditions, and Bellini, who, like
Thomas, presented a looser take. "Hamlet" drags, offering vocal lines
that usually suit the text but that don't tend to be especially
shapely or evocative. Drinking songs and rousing choruses — though
well sung
here — feel detached from the action and obligatory.
The exception is Ophélie's death, which receives its own Act. It
incorporates all the shuddering, high-lying
runs of a bel canto scena as well as touching passages from her
earlier duet with Hamlet and a kind of
ritualistic, tribal-sounding song as she contemplates the knife.
Petersen sang with pathos and impressive
agility. Her light, frothy soprano suited the character's fragility,
but Thomas' frequent leaps to the top of the
range sounded challenging.
Keenleyside made a star turn as Hamlet. His powerful presence and
full, hardy voice worked equally well
for fearsome confrontation and, scaled back, to convey fear or
introspection. He sang beautifully and
authoritatively — when the character exploded impulsively,
Keenleyside's portrayal seemed completely
genuine. If his scenes with Peterson were a little cool or forced in
their first show, that is likely to change
as the production continues. The production was subdued but with
memorable contributions from directors
Patrice Caurier and Moshe Leiser, set designer Christian Fenouillat,
costume designer Agostino Cavalca
and lighting designer Christopher Forey.

39. All of the following can be inferred from the passage except:
(a) Denyce Gravings of the Metropolitan Orchestra was substituted by
Kirsten Chavez who was not
a better singer than Denyce.
(b) The showcasing of 'Hamlet' by the metropolitan Orchestra seems to
lack a genuine concern for
the revival of the ancient play.
(c) Keenleyside and Dessay shared a good chemistry as they had
performed together at least once
and had recorded a work together.
(d) The author feels that even the chemistry of the singers and the
strength of the Keenleyside –
Dessay pairing could not have brought about the desired impact in the
Thomas' Hamlet opera.


40. According to the author, which of the following is the central
reason for Thomas' take on hamlet not
being so effective?
(a) The Keenlyside-Peterson pairing was not strong enough to create an
effective impact.
(b) There were many changes in Thomas' Hamlet when we compare it with
the original version by
Shakespeare.
(c) Thomas' take on Hamlet was a very loose one when we compare it to
the original version.
(d) There was a definite lacuna in Thomas' music, which was not good
enough to bring out the
intricacies of the play.

41. Which of the following is a point of criticism by the author as
regards Thomas's play?
(a) Thomas's frequent leaps to the top of the range seem challenging
for Petersen.
(b) Keenlyside's scenes with Petersen were a bit forced or slow.
(c) Petersen's portrayal of the character Ophelia is not as effective
as Dessay's would have been.
(d) None of the above.