Review

Reviewed by John Hammel, Classical New Jersey Society

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The Eglantine

An Opera In One Act with intermission

Music by Sam Belich

Libretto by Keith Green & Sam Belich

Temple Hillel, 1000 Rosedale Road, Woodmere, N.Y.

November 22, 2005

Rachel Hanau: Rebekkah Hilgraves (soprano)

Thomas Frodhi: Jay Gould (bass-baritone)

Customer/Police Lieutenant: C. David Morrow (baritone)

Jurgen Hanau: Duane P. Wittman (tenor)

Gershon: Rev. Cantor Lawrence Eliezer Kepecs (tenor)

I have previously reviewed this opera, in workshop form, earlier in the year with a different cast. I was struck by the power and sweep of this story and music and relished the opportunity to see it again with a different cast in the lead roles. While this performance was a vocal improvement across the board, I found it a bit less satisfying but more about that later. First allow me to establish the plotline. This opera is a harrowing tale of survival and emotional betrayal on myriad levels. It requires its heroine, Rachel Hanau, to make courageous yet horrific decisions, which ultimately allow her to survive in spirit. The title of the opera is taken from the name of a variety of wild rose found in northern Europe . In spite of its blander appearance in relation to other members of the rose family, the Eglantine is a hardy member of the botanical species synstylae, blooming almost continuously until early frost. It is also noted for its adaptability and ease of transplantation.

The story of the opera opens on a city street towards the end of a workday in World War II Germany . Policemen are searching for escaped Jewish prisoners. The local populace blames the Jews for ALL of their troubles. A small girl finds a man hiding and the police take him away before the mob can harm him. Rachel, a laundress busy working in her basement abode, is brought a gift of food by the kindly Dr. Thomas Frohdi,. He makes overt reference to her religion by including matzoh in his bundle of food. The Customer/Policeman enters and inquires whether either of them has seen any escapees. When the policeman departs, Dr. Frohdi presents Rachel with forged documents in order for her and her two small children to leave the country to safety. Rachel is reluctant, as it would mean leaving her absent (although abusive) husband Jurgen, a wealthy industrialist and Nazi sympathizer, who has been protecting her, up to this time, through his political connections.

Rachel’s father and family had disowned her for marrying Jurgen. This was cause for great consternation for Rachel and a source of irritation in her marriage. Although Rachel had helped Jurgen to achieve his status by exposing Jews in hiding, he has left her with very little, and lives apart from her. Jurgen in one of his unannounced visits, informs Rachel that in spite of their own marriage, he intends to marry his employer’s daughter and expects Rachel to continue to help him or she and the boys will be exposed to the authorities. She lunges at him and he brutalizes her before leaving.

Later than evening, a half starved Jewish escapee, Gershon, breaks into Rachel’s apartment and she confronts him. She first orders him out but then offers him food. Touched by her gentility he tells her his horrific story of imprisonment in the Nazi death camps. His parents and siblings were killed and he was shipped around as a slave laborer. He heard of a woman who betrayed other Jews including her own family. Believing this woman to be his own sister, he seeks vengeance. Overcome with horror and remorse at what she has unwittingly done Rachel reveals herself as that woman, begging him to end her life. She then explains that she did these things to avoid her own children being sent to the camps, (and in a later aria reveals that she would do so again if need be). Gershon grabs a knife and attempts to kill his sister but finds he does not have the will to do so. Dr. Frohdi then bursts in with news of impending police arrival but alas too late to save himself or Gershon.

Rachel, now alone, says Mourner’s Kaddish. She knows now she can no longer collaborate nor let her children suffer the horrors of the camps. Together with the children she celebrates Passover night. She poisons the children with a brewed tea and lullabies them to sleep. Once they have died she gently places them in their beds. Jurgen returns and tells her that what happened earlier, the suicide of Dr. Frohdi and the shooting of Gershon are what happen to those who refuse to cooperate with the Nazi’s. Rachel informs him she has one more name for him, her own. Jurgen realizes what she has done and sinks defeated by his two dead sons. Rachel walks up the stairs, the yellow star she has affixed to her clothing, captured in a pin spotlight as the opera ends.

Mr. Belich has constructed a powerfully dramatic and compelling opus. His and Mr. Green’s libretto could stand alone as a theatrical work. But with the addition of the soaring vocal line and harmonies, the work gains added depth and magnitude. Mr. Belich sculpts his lines with great tonal clarity and sweep, something that had been lacking until fairly recently in modern opera. The Eglantine is a great story and one that begs to be heard and seen in a fully produced form. Mr. Belich writes demandingly for the voice, i.e., a rather high tessitura for both tenor roles and most certainly the role of Rachel, and also calls upon his singers to sing through multiple registers. Yet the end result is eminently “sing able.” In other words; a feast for good acting singers.

All in all the performance by the ensemble was excellent. For a new work that is as demanding in counterpoint and fugal composition as this, they handled their jobs with aplomb. I found that the ensemble in this concert version were even more convincing that the first time, now that they have had multiple performances under their belts. The solo spots out of the chorus were organic and flowing, revealing some first rate voices.

The roles of the Customer/Policeman and Dr. Frodhi were “switched” by Jay Gould and C. David Morrow. They had sung the opposite roles when I last saw them. I must commend both on their high level of artistry in handling the change so deftly. Jay Gould was an engaging and highly believably Dr. Frodhi and he sang the part convincingly if a tad too covered on top. C. David Morrow’s Customer/Policeman was slightly more malevolent than when Mr. Gould essayed the part, and he too found the role a perfect vocal and dramatic fit.

The Rachel of Rebekkah Hilgraves was satisfying if all one wished for was an opulently effulgent tone. She has that in abundance. Her endurance and stamina were inspiring. I could imagine her singing a Leonora, taking a break for dinner and then coming out for Tosca as dessert. She sounded as fresh-voiced at the end of the two hours plus, as at the beginning. Her acting was sufficient but I found a sameness to her attacks, vocally and dramatically, most especially on her high notes and climatic passages, with a penchant to “sing out” too much where nuance would have been apropos at times. Again, if one wanted to forget what was happening on stage and merely revel in pure sound then Ms. Hilgraves was your woman.

The Gershon of Cantor Kepecs was troublesome. Although he gave a highly committed and impassioned performance, his singing lacked subtlety and line. Throwing all caution to the winds, he leapt into the role but reminded me of a car that could at any moment careen wildly out of control. His tendency to import every word with meaning came across as hammy emoting. He is in possession of a great natural voice with concomitant high notes galore, but one that is not molded to the will of its master. His vocal line suffered by changing every few notes. In other words, the placement of the voice was not firmly centered in any one spot and seemed to wander where it wilt. This, unfortunately, led to inconsistent communication of the words to the audience, who could not become deeply engaged.

Duanes Wittman’s portrayal of the truly dastardly Jurgen Hanau was outstanding in every aspect. His acting came off as the most finely thought out and honed of all the leads. He possesses a forwardly placed and brightly projected tenor voice with great size, richness and carrying power. He employed it wisely, capturing the more subtle nuances of the text, with dynamic shadings and deftly delineated phrasing. A wonderful performance in a secondary but vital tenor part that left one hungering to hear him again in a more substantial role.

The overall dedication of all the artists could not be faulted and even with the above caveats, the performance was one that deeply engaged the mind and heart of the listener. This is a great work by Mr. Belich that richly deserves to be heard by audiences who are hungering for compelling new operatic works. It also lends proof that there are great new works being written and it is up to daring entrepreneurs to go out there, find them and bring them to life on the stage.