Opera Saratoga does small things in a big way
SARATOGA SPRINGS, N.Y. » I’ve always loved the saying, “If you can’t do great things, do small things in a great way.” It is a quote that especially stays in my head whenever I attend a production at Opera Saratoga.
Opera Saratoga does not, and cannot, produce grand opera. Its budget is miniscule when compared to large opera companies. It performs in a small, 500seat venue, which prohibits the use of a large orchestra, and it only has access to the Little Theatre on the grounds of SPAC for a couple of weeks.
However, at least since 2014, when Lawrence Edelson became the Artistic and General Director, the productions – without exception - have been grand.
In a recent interview he expressed his philosophy that drawbacks are opportunities. He says that by picking challenging material and having a reputation of doing them well attracts talent who will be the stars of the future.
As for space, he points out that seeing a production of Opera Saratoga in the last row of the theater is equivalent to being in the fifth row of the Met.
This weekend, the company begins its 2018 season. On Friday evening the season opens with the delightful and charming operetta, “The Merry Widow.” On Saturday they open two one-act operas. Both are premieres. “Rocking Horse Winner” is an American premiere and the chamber version of “Vinkensport,” (also known as “The Finch Opera”) is a world premiere. The final offering, “The Consul,” enters the repertory on Saturday, July 7.
In a recent telephone interview, Edelson was understandably enthusiastic about the season and feels that even though there is no unifying theme to unite the season, each work is “thoughtful, provocative and entertaining.” He is most pleased with the variety and the balance offered. “There is a classic, two new works and an American opera that addresses a contemporary issue. It is a complete season,” he says.
The well-known fun piece is “The Merry Widow.” “People will leave the theater smiling. It is a comedy with beautiful music composed by Franz Lehar. It’s in the mold of Gilbert and Sullivan which our audiences love.” He adds that the work also supports his commitment to incorporating dance into his productions. “Besides being an important plot device, the waltz is a gorgeous addition to the visual beauty of the production. I cannot believe we haven’t done it in over 30 years. It’s going to be a crowd favorite.”
Edelson is an artistic director who is able to find ways to keep his audiences entertained and still be true to the difficult mission of offering new work. By offering two one-act operas, he says he is able to offer his audience a fun time and make a moral statement with fresh material.
About “Rocking Horse Winner,” he says of the American premiere, “What a treat to offer in Saratoga an opera about horse racing.” However, he quickly made clear that the choice is not just location-based. It is also a work that makes a powerful statement.
He explains how “Rocking Horse Winner,” which is based on a short story by D.H. Lawrence, concerns a young man who starts to hear voices that tell him the names of horses who will win at the track. Desperate to earn the love of a mother who is always in need of money, the youth pushes himself to win more. It becomes a tragic tale of love, luck and greed
Edelson says the other opera on the bill is also deceptive. “Vinkensport” explores the Finnish sport of Finch-Sitting. However, despite the comical antics of the participants, this worldpremiere of the chamberversion of the opera explores the nature of competition and the temptation to cheat in order to win.
Edelson says he is thrilled that as an added bonus to audiences, David Alan Miller the Music Director of the Albany Symphony Orchestra is conducting both works. “David has a national reputation for his devotion to new work. It sends a marvelous message to the community to have two important local arts organizations collaborating on original material.”
The third work in the schedule is almost providential. “The Consul” was announced a year ago and written in 1950. But its theme about immigrant families who are tragically torn apart as they try to enter the United States after World War II might have been provoked by today’s headlines.
Edelson points out the composer Gian Carlo Menotti not only won the Pulitzer Prize for Music in 1950 for “The Consul,” the work was also nominated for the Best Musical by the New York Drama Critics. “How rare is it that an opera is honored for both its music and its theatricality?” he questions.
Without question, the 2018 Opera Saratoga season supports Edelson’s passion for opera. He says, “Opera is a living, breathing art form. It has a breadth of stories to tell, and at Opera Saratoga we strive to tell them well.”