RC#1

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.

9. 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.

10. 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.

11. 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.