I reviewed Pocket Opera's production of Kirke Mechem's Tartuffe the other day. The review is a rave, because the performers and direction are terrific, and it is quite simply one of the funniest and best-constructed recent operas that I've ever seen.
Consequently, I found myself wondering why on earth it's not a repertory staple at U.S. opera companies large and small. I mean, it has gotten some 400 performances or so worldwide, nothing to sneeze at, but still!
All I can come up with is that you need eight strong soloists who can also act, putting it on the expensive side. On the other hand, it can be performed with a big orchestra or a small orchestra; none of the roles are extreme for their voice type, and it seems perfect for a conservatory or program like Merola Opera, where you want opportunities for as many singers as possible.
I've seen two other recent operas that were this funny; they are also not exactly staples and they also should be. They are Kevin Puts and Mark Campbell's Elizabeth Cree and Mark Adamo's Lysistrata.
Bring on the comedies! We all need a good laugh.
Elsewhere:
- Joshua Kosman, On a Pacific Aisle
- Cordell Reports
- DB at Kalimac's Corner
