'Flowering' magical
Chicago Opera Theater's "A Flowering Tree" elegantly conjures up all sorts of storytelling magic for an ancient tale of love and redemption. This Midwest premiere is not only a creative triumph, but an artistic coup for COT (the first opera company to present "A Flowering Tree" outside of semi-staged concert hall performances).
Co-written by American composer John Adams and co-librettist Peter Sellars in 2006, "A Flowering Tree" is based on a South-Indian folk tale and other poetry translated by late University of Chicago scholar Attipat Krishnaswami Ramanujan. It's a very accessible departure for Adams, whose previous operas "Nixon in China," "The Death of Klinghoffer" and "Doctor Atomic" explored weightier issues.
"A Flowering Tree" focuses on pious peasant girl Kumudha (soprano Natasha Jouhl), who has the ability to transform herself into a flowering tree so she and her sister can sell the blossoms. Things get complicated when the Prince (tenor Noah Stewart) spies Kumudha's transformation and demands she become his bride.
The two fall deeply in love, but become separated when the Prince's jealous sister interferes with one of Kumudha's metamorphoses.
Adams and Sellars rely primarily upon narration to drive the tale along, be it from an omniscient Storyteller (baritone Sanford Sylvan) or from the leading couple who frequently sing in the third-person.
This is a tad emotionally distancing, but it provides director Nicola Raab and choreographer Renato Zanella lots of fanciful opportunities to illustrate Adams' shimmering and propulsive score (Adams himself conducted on opening night; Joana Carneiro conducts the final three performances).
Raab emphasizes the imagination of both the Storyteller and his circle of listeners which include dancers (who step out to take on character roles) and singers (who also express dialogue and inner thoughts).
Zanella's modern choreography is inflected by the arched poses of classical Indian dance (Zanella's conciliation dance for Kumudha's mother is particularly affecting).
Things were a bit shakier vocally. It took a while for Sylvan to get warmed up and sometimes he audibly dropped out (the production is amplified, so I'm uncertain if it was a lyric blunder or a sound booth problem).
Stewart's tenor voice has a lovely baritone sheen to it, which didn't initially scale the high tessitura in Adams' vocal writing for the Prince (it could have been opening night jitters since Stewart sounded fine later on). Coming off best was the golden soprano of Jouhl, who vocally soared even when she spent most of the second act bound and wriggling about.
Lighting designer Aaron Black saturates the largely bare stage with deep primary colors, allowing the period costumes and creative set pieces of designer George Souglides to pop out. Souglides' use of ropes for a web of branches was clever, as was a series of cutouts suggesting shantytowns and a metaphorically marauding elephant.
Though some of the orchestral interludes may wear out their welcome in forwarding the plot, "A Flowering Tree" grows on you overall as an entrancing tale of love and imagination. Once again, COT proves itself to be an innovative and essential part of Chicago's operatic and artistic landscape.
"A Flowering Tree"
3 1/2 stars
out of four
Location: Chicago Opera Theater at Harris Theater for Music and Dance, 205 E. Randolph Drive, Chicago
Times: 7:30 p.m. Saturday, May 20, 23 and 3 p.m. May 25
Running time: 2 hours and 20 minutes with 15 minute intermission; In English and Spanish with projected English text
Parking: Area garages
Tickets: $35-$120
Box office: (312) 704-8414 or (312) 334-7777
Rating: Safe allusions to lust and marital consummation