Author : Johan Uytterschaut
The New York Metropolitan Opera has started a new season Live in HD with the document “Dead Man Walking” by Jake Heggie (2000), on a libretto by Terrence McNally. Not the most evident choice to seduce a worldwide host of opera lovers, by in our case there is an interesting side to it: the production is by Ivo Van Hove. Later on I will say more about his views, but first some explanation. The title of this opera may ring a bell. If it does, that is possibly because of a Hollywood release, featuring Susan Sarandon and Sean Penn (1995) about a nun feeling it her vocation to go and support a man on death row in the prison of Angola, Louisiana. That movie is based on the eponymous memoires of sister Helen Prejean and her commitment to the case of 29 year old Joseph De Rocher, found guilty of rape and double murder. Said memoires served as a base for Jake Heggie’s opera.
It is important to know that sister Prejean was asked for her permission to write this opera, and that she agreed on two conditions: no atonal music, and a clear focus on the theme of redemption. That first condition clearly steered Heggie’s score in a well defined direction. So, don’t expect a second “Wozzeck”; rather a second “Billy Budd”. Which is, to a certain extent, what you get. When Heggie was asked to write this piece, he was working in the opera trade, but he had no experience in writing one. Which means he must have had to get his fix somewhere. And that appears to have been 20th century English opera. Practically from the start, the orchestral hue is that of, indeed, Benjamin Britten’s setting of Herman Melville’s novella “Billy Budd, sailor”. No surprise there: it is the sad story of a stuttering sailor who is being provoked by an officer to the point of killing that officer with one blow; consequently, he is condemned, according to late 18th century law of war, to be hanged from the yard arm. The following scene in “Dead Man Walking” conjures up the children in “Let’s Make an Opera” when sister Prejean summons the wards being looked after by her congregation. It’s all very subtly done, but the sources of inspiration are undeniable. Furthermore: the scoring in Ralph Vaughan Williams’ symphonies plays a part.
What does this say about the quality of this opera? At least something. Jake Heggie appears to have the intuition and the talent to evoke the right “tinta”, being no doubt served by Terrence McNally’s sober and efficient lyrics. Which, in turn, implies the singing parts are well looked after. If you expect belcanto or 19th century lyricism, you’re bound to be disappointed, something you can hardly blame the composer for: a story like this one has a powerful expressive charge; nothing for your average operetta. So, what I heard being said about “melodies not always what we expected” is hardly relevant. What ís relevant is whether the “vocal characters” are properly shaped. And, well, there are some differences throughout the work, but as a whole, Jake Heggie has done a pretty good job. There are even some downright heart breaking moments, such as De Rocher’s mother’s plea before the grace appeal jury, with her concluding supplication to spare her son, because “Haven’t we suffered enough?”, the power of which was clearly due to Susan Graham’s peerless interpretation. The heaps of experience as a singer and an actress she acquired through the years are crystallized here, taking you irresistibly with her in her passion. Hard to keep it dry.
Ray McKinny may be a trifle old to pass for a 29 year old, but who cares? The voice is rock solid, and the character grows with the tension of the evening. Quite enjoyable. Dito for Latonia Moore’s Sister Rose.
On the other hand, I have a problem with Joyce DiDonato. Since a few years I have noticed that her voice is suffering from a strange “shake”: what you would expect from someone trying to speak on a bicycle riding on cobblestones. She never used to do that in the earlier days. For me, this is clearly a problem of faulty breathing technique. The reason why eludes me completely, but the cause must have something to do with incorrect use of the muscles around the diaphragm. Strangely, nothing of this was noticeable early in the evening. Everything fell beautifully into place, resulting in a strong character. As the evening (and the quite demanding role) progressed, however, the picture started to crack, and the annoying tremolo set in – mostly in the medium and high tessitura. All the more regrettable, since the depths of her character were no longer really reached.
The production then. Ivo Van Hove points out in an interview that he focused on the drama’s emotional tension. Hence his choice for a stark set and the use of live video images for the observing of facial expressions; not new, but in this case particularly efficient. Furthermore interesting is his not taking position in the clearly central discussion on the death penalty. What he does do, is putting the naked facts (including the crime) on stage, along with the pros and contras. As in a Greek tragedy: it is up to the polis to judge.
My thanks to Yannick Nézet-Séguin for delivering, once more, a strong and fulfilling lecture of the score. As we know, the Met’s orchestra is a house of trust.