An Unusual Oberto

"Oberto"
The Academy of Vocal Arts
Through January 31

Naturally it was pouring rain as I sprinted down Market Street, desperately trying to hail a cab in vain, attempting to make it to the opera on time. I was seeing Giuseppi Verdi’s Oberto, a story described as “a classic love triangle” with “tragic results” — as if love triangles ever end happily. In any case, it sounded enticing enough, although I hoped that it would really be enticing enough to make up for my tragic trip there.

What immediately made Oberto different from what I expected was the lack of costumes and sets. The show focused primarily on the singers and the orchestra, and there was very little acting involved in the performance. The orchestra was onstage and visible for the duration of the show, rather than performing from the pit, and the singers acted in place by making dramatic hand gestures and facial expressions. Characters embraced each other by holding hands, though still remaining two arm’s lengths apart. It was different from seeing Bizet’s Carmen, in which Carmen’s fiery dancing or dramatic scenery spice up every scene.

But although it was different, it was no less enjoyable. The subtitles of the show were extremely poetic, including such lines as, “Oh, how that ungrateful man betrayed me and stole all the joy from my heart” and “I come to bathe you in fresh tears, then I must bid you farewell again.” It was almost comically dramatic, leading me to wonder if I should try writing an operatic adaptation of the Jersey Shore, because the events of the story were no less dramatic than you might see on a reality show — Riccardo seduces Leonora even though he has promised to marry Cuniza! Leonora’s father Oberto challenges Riccardo to a duel (which happens offstage), and Riccardo kills Oberto. Leonora witnesses the final blow, and goes into a state of shock. Each turn of the plot was amplified by the booming of the orchestra and intense vocal solos. It made me wish that my life was an opera — everything would seem so much more consequential.

When the show finished, the people in front of me cheered loudly and used “bravo,” “brava,” and “bravi,” appropriately depending upon for whom they were cheering. I think this is the best way to define the kind of audience who would most enjoy this show: an audience that is really passionate about opera. Though I enjoyed this show a lot, it is notable that the performance focuses on the music rather than acting or the storyline. One of the songs was simply Oberto lecturing his daughter about being dishonorable — needless to say, it wasn’t the most exciting plot point. The orchestra and performers were brilliant, though, and more than worth my run through the rain.    

Photo by G. Widman for GPTMC.