The Met’s uniformly well-cast new production of the famed American opera paints a vivid portrait of a complex place.
ByHeidi WalesonSept. 24, 2019 5:30 pm ET
New York
In the 29 years since “Porgy and Bess”—by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin —was last seen at the Metropolitan Opera, the piece has become almost an opera house staple, thanks in part to the much-traveled Francesca Zambello staging. The debate over whether it is a musical or an opera has surely been decided by now—but, if not, the sheer sonic grandeur of the Met’s new production (shared with the English National Opera and the Dutch National Opera), which opened the season on Monday, should do the trick. Additionally, the suggestion that the work traffics in racial stereotypes should be answered by the thoughtfulness of James Robinson ’s staging, which portrays Catfish Row as a rich, complex community, bound together by common values and beset by struggles that can afflict any society.
Michael Yeargan ’s set—a two-story, open, wood-framed tenement building—made interiors visible and revolved to offer different perspectives of Catfish Row (the inner courtyard, the boats drawn up outside the gate). Catherine Zuber ’s costumes—print dresses, work clothes—spoke of frugality and simplicity. Between scenes, Luke Halls ’s scrim projections of houses on stilts, and the recorded sounds of waves and seagulls, gave more geographical context, while Donald Holder ’s lighting limned both time of day and extremes of weather, including the hurricane, throughout.
The splendid chorus inhabited the space as though its 60 members lived there. It sometimes felt a little crowded, but it was worth it for the opulence of their singing in the prayers, dirges and celebrations that are the tent poles of “Porgy.” Mr. Robinson’s detailed directing always made them seem like individuals rather than a mass.
The show was luxuriously cast, from the title roles to the smallest cameos, so the drama of the disabled beggar Porgy and the drug-addicted Bess, whom he tries to rescue, grew out of this community context. Bass-baritone Eric Owens stressed Porgy’s strength and generosity, and his position as a leader. With her poignant lyric soprano, Angel Blue brought out Bess’s vulnerability rather than her toughness; her Bess clung to Porgy for protection in her new life, but when he wasn’t there, she was easily drawn back to the abusive Crown and the oblivion of cocaine.
Tenor Frederick Ballentine ’s Sportin’ Life, the drug dealer, was lithe, handsome and a complete sleaze, tempting not just Bess but the whole community into his nefarious worldview with “It Ain’t Necessarily So.” His two principal antagonists were worthy opponents: Denyce Graves was a fierce, no-nonsense Maria, wielding her fish-gutting knife to drive him off; as the devout Serena, Latonia Moore was riveting, her luxuriant soprano rising to a wail in “My Man’s Gone Now.” As Clara, Golda Schultz brought an innocent simplicity to “Summertime.”
Bass-baritone Alfred Walker was a terrifying Crown; Ryan Speedo Green a powerful, confident Jake; and Errin Duane Brooks (Mingo), Chauncey Packer (Robbins) and Reginald Smith Jr. (Jim) were vivid in the rowdy Act I craps game. (The game became a fight, staged so realistically by David Leong that it was surprising that only Robbins was killed; Porgy’s execution of Crown in Act II was equally shocking.) Soprano Leah Hawkins had a brief, exquisite moment as the Strawberry Woman; Tichina Vaughn (Lily) and Chanáe Curtis (Annie) had lively, witty cameos.
Camille A. Brown ’s choreography for eight dancers ranged from manic social dancing to ecstatic worship, matching the ensemble’s mood. Conductor David Robertson built the opera’s grand arc and exposed its jaunty and passionate heart.
—Ms. Waleson writes on opera for the Journal and is the author of “Mad Scenes and Exit Arias: The Death of the New York City Opera and the Future of Opera in America” (Metropolitan).
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