'Porgy and Bess' is one of Gershwin's most well-known works for a reason. It has a story that is both hugely engaging and poignant and music that ranges from catchy ("Summertime", the most famous part and a major popular standard as even those that don't listen to opera know it, and "It Ain't Necessarily So") to emotionally heart-wrenching ("Oh Lord I'm on My Way", "Bess You Is My Woman Now"). There are two particularly great performances, the 2013 San Francisco production and the classic Trevor Nunn one from 1993.
So of course hopes were very high. Also because this production of 'Porgy and Bess' is from the Metropolitan Opera, which have boasted so many memorable performances and singers over the years, and have for a while gotten a lot of pleasure watching and listening to Eric Owens, a seasoned interpretor of Porgy. Have always loved his warm voice and his stage presence that has always commanded complete attention (something that is apparent too in his hostings for this series, and he has done a fair number of them now). The good news is that was a great performance and as far as the sadly too short lived fourteenth season goes it's second behind 'Akhnaten', though it's likely more accessible for others and more to other's tastes than that production.
There is so little to criticise, apart from some occasional dragging in the first act.
Visually, it is a handsomely designed production with a vivid atmosphere. The few scene changes are handled fluidly and somehow do not affect the flow at all, helped by that they are not too ambitious. The staging is full of energy and is always tasteful, every gesture and action having a meaning and there is no gratuitous shock value. Some of the relationships and the character direction of Bess and Crown are actually quite insightful and things are brought out in the stage direction never seen before by me. The video direction is fine, it has an intimacy without being claustrophobic.
Musically, this 'Porgy and Bess' is even better. The orchestra play with such ravishing tone throughout and also with energetic character that keeps moving forward. While of course allowing for the music to breathe and the emotion to properly come out. The chorus are also amazing, their singing having lots of variety of colours and a wide dynamic range and their acting continues to grow.
When it comes to Porgy, nobody in recent years has sung or performed him better or even on the same level as Eric Owens, who does not in any way disappoint and is outstanding throughout (one of the best performances of the 2019/2020 season for this series). His voice is still sonorous and used with great dramatic skill and musicality, and he is very affectingly dignified without being melodramatic. Angel Blue's Bess for me was also one of the best performances of the season, an even more complex role to pull off and Blue sings absolutely gorgeously (her legato in "Bess You Is My Woman Now" really stands out) . She is a fiercely committed actress even when she is reacting to what's going on or being sung without singing a word herself. Owens and Blue sing and act beautifully together, emotions are high when they duet together.
Alfred Walker is confident and very menacing as Crown, even his voices induces the creeps. Frederick Ballentine makes a most promising debut, not sounding or looking nervous at all and his Sportin' Life actually seemed indicative of someone who had sung professionally for years before. "It Ain't Necessarily So" is a cracker. Golda Schulz gives a luminous rendition of "Summertime" and Latonia Moore is a very poignant Serena, "My Man's Gone Now" is one of the production's most emotional high-points and perhaps the single most emotional scene of any production for this season.
Overall, wonderful and one of the best productions of Season 14. 9/10
So of course hopes were very high. Also because this production of 'Porgy and Bess' is from the Metropolitan Opera, which have boasted so many memorable performances and singers over the years, and have for a while gotten a lot of pleasure watching and listening to Eric Owens, a seasoned interpretor of Porgy. Have always loved his warm voice and his stage presence that has always commanded complete attention (something that is apparent too in his hostings for this series, and he has done a fair number of them now). The good news is that was a great performance and as far as the sadly too short lived fourteenth season goes it's second behind 'Akhnaten', though it's likely more accessible for others and more to other's tastes than that production.
There is so little to criticise, apart from some occasional dragging in the first act.
Visually, it is a handsomely designed production with a vivid atmosphere. The few scene changes are handled fluidly and somehow do not affect the flow at all, helped by that they are not too ambitious. The staging is full of energy and is always tasteful, every gesture and action having a meaning and there is no gratuitous shock value. Some of the relationships and the character direction of Bess and Crown are actually quite insightful and things are brought out in the stage direction never seen before by me. The video direction is fine, it has an intimacy without being claustrophobic.
Musically, this 'Porgy and Bess' is even better. The orchestra play with such ravishing tone throughout and also with energetic character that keeps moving forward. While of course allowing for the music to breathe and the emotion to properly come out. The chorus are also amazing, their singing having lots of variety of colours and a wide dynamic range and their acting continues to grow.
When it comes to Porgy, nobody in recent years has sung or performed him better or even on the same level as Eric Owens, who does not in any way disappoint and is outstanding throughout (one of the best performances of the 2019/2020 season for this series). His voice is still sonorous and used with great dramatic skill and musicality, and he is very affectingly dignified without being melodramatic. Angel Blue's Bess for me was also one of the best performances of the season, an even more complex role to pull off and Blue sings absolutely gorgeously (her legato in "Bess You Is My Woman Now" really stands out) . She is a fiercely committed actress even when she is reacting to what's going on or being sung without singing a word herself. Owens and Blue sing and act beautifully together, emotions are high when they duet together.
Alfred Walker is confident and very menacing as Crown, even his voices induces the creeps. Frederick Ballentine makes a most promising debut, not sounding or looking nervous at all and his Sportin' Life actually seemed indicative of someone who had sung professionally for years before. "It Ain't Necessarily So" is a cracker. Golda Schulz gives a luminous rendition of "Summertime" and Latonia Moore is a very poignant Serena, "My Man's Gone Now" is one of the production's most emotional high-points and perhaps the single most emotional scene of any production for this season.
Overall, wonderful and one of the best productions of Season 14. 9/10
