NYMPH LOADS
Pacific Opera Project (POP) is staging the Los Angeles premiere of Antonín Dvořák’s Rusalka at the picturesque Descanso Gardens. This 1901 opera, one of the most renowned in the Czech repertoire, tells the haunting story of a water nymph who falls in love with a human prince. The libretto, penned by Jaroslav Kvapil, draws from Slavic myths and fairy tales, echoing the themes of Hans Christian Andersen’s The Little Mermaid. Dvořák as usual digs into the rhythms and modes of Czech folk music and integrates them into one of the most lushly orchestrated operas in the repertoire. This symbolist work delves deep into themes of unfulfilled love and the perilous crossing of natural boundaries.
Steve Pence and Rachel Blaustein
The production’s design, led by director Josh Shaw, cleverly utilizes the outdoor setting with a multi-level set that has many playing areas for his awesome cast. Plenty of flora, bubbles, theatrical haze, a pool, waterfall, and fountain enhance the water theme, fitting right in with the sylvan surroundings. His direction skillfully avoids caricature, presenting both human and fairy characters with genuine emotions and motivations. Shaw also wrote the beautifully rhymed American English translation for the simplistic libretto.
Rachel Blaustein and Derrek Stark
Rusalki are mythical beings (a.k.a. Nymphs, Sprites, Goblins) in Slavic folklore associated with water and wooded areas. Once revered, they became vilified as malevolent spirits during the 19th century. The narrative here follows Rusalka — daughter of the Nymph king Vodnik — who falls in love with a mortal prince. The nameless Prince is entranced by her beauty and rashly proposes marriage. Against daddy’s advice, Rusalka summons the witch Ježibaba for aid and makes a bad bargain. Her transformation to become human comes with a grave warning: failure to win the prince’s love will doom both her and her beloved.
Derrek Stark and Rachel Blaustein
As with Andersen’s tale, the price of humanity is steep — Rusalka will lose her voice and risks a cursed existence if her love remains unrequited. It’s bad from the start, as the relationship between the water sprite and the prince is hampered by her natural coldness and her muteness. On the day of their wedding, a foreign Princess, Esmerelda, enamors the prince. With love lost, Rusalka goes back to the pond, neither Nymph nor human. Ježibaba will restore Rusalka but demands the Prince’s life, an act Rusalka refuses to commit. She is turned into a wraith, doomed to kill all mortal men who pass by the waters — and that is where The Prince, discovering he was tricked into seduction by another witch, returns to Rusalka. There’s a whole new meaning to “Under the Sea” as she lovingly drags him below to his death.
Rachel Blaustein
The young cast brings energy and talent to the stage. Rachel Blaustein, in the role of Rusalka, is a standout. Her lyric soprano voice, with its lush phrasing and shimmering high notes, beautifully conveyed the character’s yearning and heartbreak. Her performance of “Song to the Moon” was a highlight. Mezzo-soprano Alin Alford also wowed as Ježibaba, infusing her scenes with humor and vocal richness. Her rendition of the witch’s incantation “Čury mury fuk” (the Czech equivalent of “Abracadabra”) was particularly memorable.
Alin Alford
The King is just a lonely father looking out for his daughter but ultimately unable to stop her from destroying her life with bad decisions (what a timeless scenario). With compassion, Steve Pence — using his imposing stature to dramatic effect — has a deep warm bass, well-controlled yet relaxed, the perfect voice for the sympathetic papa. Derrek Stark does a superb job as The Prince, bringing a rich legato to his third act lament; his naturally carefree romantic tenor characterizes this careless cad quite well.
Christine Marie Li, Tiffany Ho and Emily Gallagher
Vietnamese American soprano Tiffany Ho, American soprano Emily Gallagher and Taiwanese-American mezzo-soprano Christine Marie Li are harmonically appealing and splendiferous as three water-nymphs skipping and splashing about the wooded set (see? Nymphs are loads of fun!). Their spring-break outfits, and that mad hair and diaphanous fabric on Vodnik, is courtesy of costume designer Hailey Springer. California mezzo-soprano Sunwoo Park is the Kitchen Boy, and José Maldonado is the Hunter from the palace, both effectively performing two of the opera’s great comprimario roles. The third is the beautiful Claire Pegram who offers a strong voice and vixen-ish characterization for the witchy princess, Esmerelda (Pegram was a featured soloist in LA Opera’s Turandot this year).
Sunwoo Park and José Maldonado
Drew Sensue-Weinstein‘s sensational sound balances the amplified orchestra and (mostly) hidden mics for actors. However, POP’s decision to reduce Dvořák’s rich symphonic score to a seven-piece band falls short. Even with lavish harp-playing by Jacqueline Marshall, the lush, dynamic range that a full orchestra provides is sorely missed. The depth of sound, crucial for the opera’s emotional and atmospheric impact, is significantly diminished. Consequently, the complexity of Dvořák’s Wagnerian-influenced harmonies is lost, leaving the music feeling thin and lacking in dramatic tension.
Claire Pegram (front); Derrek Stark and Rachel Blaustein (back)
The limited orchestration also exposes the opera’s narrative weaknesses. Despite the smart translation, atypically unhumorous for Shaw, the libretto remains simplistic. It lacks the dramatic depth and character development found in other operatic staples. Besides the famous “Song to the Moon” and some lusciously melodic music for Vodnik, the score does not offer memorable melodies, a shortfall accentuated by the reduced musical ensemble. The band, conducted by Alexandra Enyart, sounded under-rehearsed on opening night, though this will no doubt improve as the run progresses.
Claire Pegram and Derrek Stark
Despite missing the Dvořák orchestrations, this production of Rusalka offers a rare opportunity to see this opera in Los Angeles and showcases emerging talent. Josh Shaw and POP deserve praise for their adventurous programming and for resisting the temptation to rely on producing operatic warhorses by the likes of Puccini, Verdi, and Mozart (looking at you, LA Opera!).
Rachel Blaustein
photos by Jason Williams for Pacific Opera Project
Rusalka
Pacific Opera Project
Descanso Gardens, 1418 Descanso Dr in La Cañada Flintridge
unlimited free parking
two hours, twenty minutes with one intermission
Fri-Sun at 7:30; ends on July 21, 2024
for tickets ($20-$55), visit POP
