The Return Of An American Classic
A Historic Revival: After a 30 year absence from The Metropolitan Opera, “Porgy and Bess” Returns in Grand Fashion for Opening Night
By Patrick D. McCoy // @PatrickDMcCoy
It has been nearly thirty years since the George Gershwin opera “Porgy and Bess” has been performed at The Metropolitan Opera House in New York City. In 1985, the first Met performance was headed by an all-star cast which included legendary singers Simon Estes, Grace Bumbry, Florence Quivar, Gregg Baker and Bruce Hubbard. Then and perhaps now, the themes of African-American life that are explored in the work may have contributed to its absence from the prestigious house. With the passing of time and a deeper understanding of black culture, the quintessential American opera was the opening night performance of The Metropolitan Opera's 2019-2020 season.
There is something very special about this particular opera beginning the season of the world's greatest opera house. In an art form where voices of color are often with few exceptions tossed to the side, the choice of Gershwin's work was the perfect platform to celebrate the legendary singers of color who paved the way, while showcasing a new era of black presence in opera. The evening was full of glamour as members of New York City high society and A-listeners descended upon the Lincoln Center plaza in their most elegant attire for the celebratory evening. Celebrities in attendance included supermodel Iman, actress Laverne Cox, ballerina Misty Copeland, actor Courtney B. Vance and Gloria Reuben, among others.
Soprano Angel Blue vocally brought a sympathetic compassion to the embattled Bess as she struggled with her affections for Porgy while still succumbing to her scandalous desires. Baritone Eric Owens was a solid presence throughout as he communicated an endearing quality to the crippled Porgy. Together, Blue and Owens captured the beauty of love between African American people (which is rarely portrayed on stage), even in the midst adverse circumstances especially in the tender duet “Bess, You Is My Woman Now.” The villain, Crown, was a mainstay throughout the performance. Bass Alfred Walker gave a resonant, shameless edge to the role as he relentlessly pursued Bess. As the distraught Serena, soprano Latonia Moore brought down the house in the aria “My Man's Gone Now.” Lamenting over the murderous death of Robbins by Crown, Moore sang with a powerful depth of anguish as she draped over the casket in her final notes. The hall erupted in rapturous applause. Whether he was singing or dancing, tenor Frederick Ballentine was a comedic presence as the arrogantly cocky Sportin' Life. With a clear, resonant tenor, Ballentine bought an alluring charm to the character, especially in the showstopper “It Ain't Necessarily So.”
As the matriarch of Catfish Row, Maria, D.C. native, the star mezzo-soprano Denyce Graves was the voice of reason in the often chaotic life of Catfish Row. In the brief cameo appearance of the “Strawberry Woman” former Washington National Opera Young Artist soprano Leah Hawkins made quite the impression on the audience, singing soaringly sweet as the fruit she was offering the inhabitants of Catfish Row. Bass-Baritone Ryan Speedo Green's powerful voice projected into the hall as the fisherman, Jake.
Other notable contributions were from the house débuts of tenor Chauncey Packer as The Crabman and Errin Brooks as the mischievous Mingo. The opera orchestra conducted by David Robertson was the perfect vehicle for the drama, punctuating the excitement with sweeping tempos and musical nuances. Special praise goes to the remarkable Porgy and Bess Chorus, which did much of the vocal heavy lifting in the opera. Of special note, many members of the chorus are alumni of the Prince George's County-based Coalition for African-Americans in the Performing Arts (CAAPA).
With themes of faith, hardship and love, “Porgy and Bess” resonates with universal appeal, speaking to many issues that are experienced today, regardless of race.
“Porgy and Bess” continues through Feb 1.
Patrick D. McCoy is an arts journalist based in the Washington, DC area, with his work appearing in The Washington Post, The Afro-American Newspaper, Early Music America, CBS Washington, Washington Life Magazine, among other publications. INSTAGRAM: PDM06 Twitter @PatrickDMcCoy
