La Reine de Saba

Boston's Fall opera season was kicked off in grand Romantic style Friday evening at Jordan Hall. Continuing its commendable tradition of presenting operatic rarities, Odyssey Opera took the helm with a concert performance of "La Reine de Saba," by the 19th century French composer, Charles Gounod. Shortly after its lavish premiere in 1862, the five-act opera fell into relative obscurity. In fact, Odyssey's performance marked the U.S. premiere of the work.

Along with Massenet and Meyerbeer, Gounod was one of France's most respected and prolific opera composers of the 19th century. His 1859 "Faust" was perhaps the most frequently performed opera during last half of the century, the work chosen to inaugurate the new Metropolitan Opera in 1883. Exquisitely lyrical, "Romeo et Juliette," has deservedly enjoyed immense popularity as well. With the possible exception of "Mireille," this leaves roughly a dozen operas which range from being seldom performed to being completely unknown today. In honor of the bicentennial of Gounod's birth year, Odyssey Opera has devoted the 2018 portion of its season to two of his most obscure operatic works. In addition to this landmark presentation of "...Sheba," "Le Medecin malge lui," based on a Moliere comedy, is slated for November. Considering Sheba's rarity, many Boston opera-goers wondered whether resurrecting the Queen would be worth all the trouble.

From the majestic prelude into the lyrical first act, doubts were quickly dispelled concerning this expertly crafted and beautifully orchestrated score. Though not as consistently inspired as "Faust" and "Romeo...," the work contains some exquisite musical moments, and a colorful libretto by famed writers Carre and Barbier. Sung at the opening of Act One by the opera's hero, Adoniram, the chief sculptor in the employ of King Solomon, the graceful, tenor aria "Inspirez-moi, race divine," is the only selection from the opera occasionally excerpted. It was nicely realized by Dominick Chenes, who sang the lead with elegance and style, although his voice was often too delicate to carry over the huge, on-stage orchestra. This act also contains the thrilling arrival and procession music for Balkis, the visiting queen of Sheba.

In Act Two, Adoniram's bronze masterwork is sabotaged by his enemies, and he is consoled by Balkis, who falls in love with the temperamental artist. Solomon is highly dismayed, as he wishes to marry Balkis himself. The chorus plays an important role in this act, and has a great deal to do throughout the work. It is something of a French tradition to emphasize the chorus in operas based on biblical subjects. Given the amount of choral singing, the "La Reine de Saba" played like a quasi-oratorio, and therefore was quite successful in concert version. The Odyssey Opera Chorus was altogether splendid, singing with vigor and commitment.

Balkis dominates the pastoral Act Three, and her character is given a lovely aria, followed by an extended duet with Adoniram in which the pair confess their love for each other. Kara Shay Thompson sang the title role, and was impressive as the regal but vulnerable heroine. Her creamy soprano ascended to some exciting high notes that cut easily through the orchestra. Despite its being a concert performance, she sang with deep, dramatic involvement.

The fourth act begins with a ballet, which conductor Gil Rose opted to perform in its entirety, making for one of the true highlights of the evening. He conducted with authority, and real panache. Solomon then gets a fine aria which leads into two prolix duets, one with Adoniram, the second with Balkis. Marred by repetitive dialogue and routine music, this is the weakest segment of the opera, extending the running time for the entire act to an hour. In spite of some pitch problems, the singing of bass Kevin Thompson proved an audience favorite. It is a true basso, with a superhuman low register and a voluminous sound. He was the only cast member who was consistently audible in all the registers of his voice.

The final act was more engaging, with Adoniram being assassinated by the conspirators. In a striking choral finale, with solo soprano interpolations, Balkis mourns his death, and imagines his ultimate resurrection.

The 2019 half of Odyssey's new season will be devoted to three operatic works based on the legend of Helen of Troy. Although the operas could not be more diverse with respect to period and style, they all pay homage to the fatally beautiful, mythological character, and are works rarely, if ever performed in these parts. Gluck's 18tth century Reform opera "Paride et Elena" is scheduled for February. Closing the season on a comic note, Offenbach's witty "La Belle Helene" will be staged at the Huntington Theatre in June. Sandwiched between the two will be an April concert performance of Richard Strauss' "Die Agyptische Helena," which will afford Boston audiences a rare opportunity to hear this sprawling German post-romantic score. Bravo, Odyssey!

"La Reine de Saba" was performed at Boston's Jordan Hall on September 22. For more information about Odyssey Opera's upcoming season, visit the Odyssey Opera website.