Spellbound at the opera

David Jackson

Carl Heffer

Special to The Nation

 Metropolitan Opera of Bangkok productions have rightly become a much-anticipated annual rite, and this year's revival of its inaugural show, Weber's "Der Freischutz", did not disappoint.

 The opera, performed at the Thailand Cultural Centre on June 12 and 13, warranted high praise for the company's founders, Pakdee and Sophie Tanapura, who financially ensure its viability and accessibility.

 The Metropolitan Opera of Bangkok has come a long way. Its first production, filled with pioneering enthusiasm, was presented at Thammasat University with accompanying pianist Elvira Galioullina.

 The second, Mozart's "Marriage of Figaro", and the third, Strauss' "Die Fledermaus", appeared at the Cultural Centre with the company's own orchestra conducted by Yoko Takahashi and Nora-art Chanklum.

 These achievements were monumental.

 In this year's production, David Jackson of the Metropolitan Opera in New York served as conductor and musical director, and soprano Dana Garnett was chorus master.

Agathe was sung by half-Indian half-French guest soprano Aude Priya, and what a voice she has! Aude held the audience spellbound.

 Annchen was ably sung by Sophie Tanapura, and the cast also included veteran members Sirichai Charoenkitthanakul (as Max), Piyawat Pantana (Kaspar), Kittikhun Sodprasert (Kuno), Ittinat Seeboonruang (Kilian and Ottokar), Charles Robert Hayden-Gilbert (Ermit) and Nattagant Puchalarsin (Samiel).

 The bridesmaids were Ji-Yonh Yoon, Sierra Chandler, Uma Paitoon and Stephanie du Chatellier.

 The stage was well directed by Australian Colin Schumacher, and the period costumes were by Stephanie du Chatellier, who did an absolutely superb job of her difficult task.

 The small hall of the Cultural Centre has no orchestra pit, which meant for the two previous productions that the productions were somewhat compromised acoustically.

 All the skill of the conductors and soloists was demanded to create the right balance between the singing onstage and the orchestra on the floor.

 The positive side of this problem was that the orchestra and the conducting were part of the spectacle to be enjoyed by the audience, especially those who were new to opera and classical music.

 Indeed, the sonic immediacy and visibility of the orchestra added to the excitement in a way that could be felt at the performances.

This year's production, in the large hall, had the acoustic advantage of a proper orchestra pit that naturally deprived new opera-goers of the fascination of seeing an opera and its conductor at work.

 Richard Wagner, who famously exalted the unification of the sister arts for his productions, sought to hide the orchestra and conductor from the audience in his 1876-built Bayreuther Festspielhaus. He wanted the audience to concentrate on the stage.

 But it seems that less relevantly cultured audiences might actually prefer the full exposure of the orchestra. There may be much to be said for this under local circumstances if the acoustic difficulties can be overcome without musical compromise.

 The Metropolitan Opera has hitherto been known for its sumptuous, traditional-style productions. This year's was different: The conception and mis-en-scene were distinctly modern (apart from the period costumes), bringing the company in line with how most operas around the world are staged.