WASHINGTON, D. C.-During my years as an undergraduate vocal music major at Virginia State University, I recall watching Porgy and Bess on television in the course of one of my classes. Bearing witness to the Washington National Opera production at The Kennedy Center on Tuesday, March 30 was the first time that I had seen the opera live. With all the debate, please note that I did also classify the work as an opera, and rightly so. The demands of the vocal music warranted just as much ability and virtuosity in a lot of instances, as in say Bellini. From the very beginning, I felt that we, as in the audience were invited not just to spectate, but to journey in this story of love, murder, betrayal, faith, forgiveness and hope. This production also marked the debuts for several of the singers with Washington National Opera.
The Opera Orchestra conducted by John Mauceri invited us on the journey, setting the tone with the festive, opening movement. Soprano Alyson Cambridge appeared as Clara, singing the famous lullaby Summertime. Though singing a lullaby in character, Cambridge sang with great intelligence, instinctly projecting into the hall with beautiful clarity, yet still singing with the integrity of rocking a child to sleep. As Jake, baritone Eric Green possesed a commanding stage presence that complimented the beauty of his Clara. Morenike Fadayomi was a magnificent Bess, bringing out the many facets of Bess' personality. By today's standards Bess would be considered a 'loose woman.' Fadayomi was able to communicate the honesty of Bess' through her warm-hued soprano and her ability as an actress. Tenor Jermaine Smith was the comic relief throughout as the drunk, low-life Sportin' Life. His character was low in regard, but Smith was a sure standout, with his straight-forward vocal delivery, witty charm and dance moves to rival competitors on Dancing With the Stars.
Eric Owens appears in the title role of Porgy. Immediately the subject of taunts and ridicule by Crown, sung by bass Terry Cook and Sportin' Life sung by Smith, one could feel the immediate plight of Porgy as the cripple. lonely man seeking what most people are, and that is to be love. Owens was most convincing in the role, bringing a sense of personal humanity and understanding to the character. Though Porgy struggled with his stature due to his physical condition, Owens brought an unassuming dignity to the role, making the hardships of Porgy instantly believable. Bass Terry Cook was perfect in the role of Crown, singing with a direct, firm voice that mirrored the intensity of his character. Keith H. Pennick made his debut with Washington National Opera in the role of Robbins, revealing a singing voice of noted ability and sincerity.
One of the most stunning moments of the evening came during the funeral scene in which Serena is lamenting over the death of Robbins, who was killed by Crown with a cotton hook. As Serena, soprano Lisa Daltrius moved the audience with her heart-wrenching interpretation of the aria My Man's Gone Now. Also making her WNO debut, Datrius' beautiful soprano reached down into the depths of Serena's despair. At the end of the aria, Daltrius was accorded the first applause of the evening. She was absolutely nothing short of almost bringing down the house in the middle of the opera. Contralto Gwendolyn Brown as Maria sang with one of the richest voices I have ever heard, in some instances singing comfortably in what would be considered the tenor range. She brought the forceful, maternal element to the cast, keeping everyone in line and being the voice of reason. The audience was brought to laughter several times by her 'frank' dialogue, as it related to her dislike for both Sportin-Life and Bess.
As Frazier, Marvin Lowe sang with a nice edge that was quite effective in his interactions on stage. The Undertaker, Stanley Webber was another character that got a few laughs from the audience, with his portrayal. Robert Cantrell sang the role of Jim, singing with a sense of comfort and ease in delivering the intent of his character.
Washington National Opera deserves an A+ for this production. Directed by the incomparable Francesca Zambello, the cast seemed to be harmonious in thought, song and delivery. Sitting in the audience, I could feel a presence of heart-felt rapport among the cast that exuded into the success of this work. Most noted, I spotted several singers who are extremely active and dedicated not only to Washington National Opera, but in their community: Tenor Keith Byron Craig who sang the role of Mingo was commanding in his WNO debut, Kehembe Eichelberger who sang the role of Lily teaches voice at Howard University and is a sought after soloist in the District for many performances. Noted in the opera chorus were Chris Jones, Wayne Jennings, Raoul Daggett , Louis Davis and John Lesane, friends that I have been honored to hear in my musical musings around the city and they are all gifted in their own right. Other members of the cast included soprano Samantha McElhaney as the Strawberry Woman, Don Jones as the Crab Man, Jihanna Charlton-Davis as Annie, Norwood Robinson as Peter, John Weber as the Detective, Jeffrey Tarr as the Coroner and W. Paul Edson as the Policeman.
April 1 is the last night for the cast headed by Eric Owens.
FINAL PERFORMANCE OF PORGY AND BESS: Saturday, April 3, at 7:00 P. M. in The Kennedy Center Opera House.
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