Stein plus music equals `Four Saints'
It was in English, but we still couldn't understand it. Admittedly, this is partly due to the fact that this comparatively young opera is based on a libretto written by none other than Gertrude Stein. But we may attribute the fundamental flaw in this production to the Houston Grand Opera.
In "putting Gertrude Stein to music," Virgil Thomson hoped to prove his theory that "if a text is set correctly for the sound of it, the meaning will take care of itself." Stein's and Thomposon's aim, though they never knew each other, was to liken the daily lives of the Spanish saints Teresa of Avila and Ignatius to the lives of the working artists of Paris. Four Saints in Three Acts premiered as a four-act opera including over 30 saints.
Thomson wrote simplistic music that would not only support but enrich Stein's esoteric writings. He succeeds by employing "emphatic minor-key passages sung by the chorus." These vocal quartets are reminiscent of English madrigals, serenely innocent melodies, unison chants, a collection of "made-up hymns, chanteys, parlor dances, fanfares" and marches. Thomson's music maintains a sense of integrity and continuity throughout this opera and can best be described as straightforward.
This straightforwardness is juxtaposed with Stein's esoteric poetry. Four Saints has no narrative plot or storyline. The writing's intent is not so much to convey a lesson as it is to portray a fun, light-hearted spirit, emphasized by the rhythmic, sing-songy quality of Stein's verse.
Stein presents the story in a series of obscure, repetitive phrases. The task of the listener is to glean bits and pieces of phrases and construct his/her own impression. But the cast enunciate every word clearly. In fact, Thomson chose his original cast for their enunciation.
The problem with this production was that HGO lacked faith in the opera itself. Rather than allowing the words and music to entertain the audience, HGO relied upon contrived flashiness, similar to a Disney World laser light show.
The chorus was stylized, their movements were constrained. Monolithic set pieces shaped into random, unrelated symbols were constantly being lowered and raised, and the acrobatics in the background made it even harder to concentrate.
The chorus, if weak at times, had a nice sound, but its enunciation was inadequate. The central cast did a good job vocally, with a stand-out performance given by Nicole Heaston as St. Settlement.
HGO did succeed in giving an entertaining performance. There were seeds of a potentially great performance, such as the rhythmic choreography that amplified the effect of the verse. Unfortunately, the cast's constraints led to a disappointing crop. Enjoy the set and the costumes, which were definitely a feast for the eyes. And the delightful, almost-absurd light-heartedness of the opera shines through HGO's performance.
This item appeared in the Arts & Entertainment section of the February 2, 1996 issue.
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