AccessMyLibrary provides FREE access to over 30 million articles from top publications available through your library.
Create a link to this page
Copy and paste this link tag into your Web page or blog:
Portland Opera's first crack at any Offenbach lighter than Les Contes d'Hoffmann was a rollicking and sexy La Belle Helene (May 16) that translated the composer's satire into modern terms. His irreverent parody of classical mythology remained. But where Offenbach poked fun at the Empress Eugenie, Emperor Napoleon III and the Paris of 1864, this production jabbed at our contemporary culture. Its topical targets ranged from credit cards and Prozac to Portland's disgraceful pro basketball team.
Robert Fortune's staging was inventive and vibrant in a co-production with Austria's Stadttheater Klagenfurt. Bruno Fatalot's colorful costumes were striking against Dominique Pichou's white-marble interiors of a modern statehouse for the Sparta of Acts I and II. In Act III, everyone escaped to a beach on Mykonos, with sunglasses, swimsuits and plenty of flesh.
Portland Opera used English lyrics by John Wells and new English dialogue by Michael Burgess. The latter needed trimming in Act I, where long, Offenbach-less stretches dragged. Later, the music-to-dialogue ratio was happier, and Acts II and III flew by.
Israeli mezzo-soprano Hadar Halevi DeVito triumphed as Helen, the unhappily married queen of Sparta, designated by Venus herself as the most beautiful woman in the world. Halevi DeVito was visually stunning and vocally bewitching, with a sensuous, refulgent instrument of plush velvet. She was a fine physical actress with a somewhat intrusive accent and mannered delivery.
As the ...