Eric OwensI heard Warfield, along with Leontyne Price and Cab Callaway in the 1953 revival of the opera in New York City way back when. That's a hard act to follow.
His strong, clear voice, along with excellent diction, and strong dramatic presence, made his performance one I will long remember.
The rest of the cast was very strong both vocally and dramatically. Bess, sung by Adina Aaron, was sung with beautiful tone but poor diction. She seemed bent on coloring vowels in a way that kept you wondering what word she was trying to say.But the sound was lovely and she is a good actress. No Leontyne Price, but then, who is?
Adina AaronsHlengiwe Mkhwanazi as Clara, Norman Garrett as Jake, Karen Slack as Serena, Eric Greene as Crown, and especially Gwendolyn Brown as Maria were all excellent. Several chorus sopranos who had solo lines sounded glorious.
The one exception was Jermaine Smith as Sportin' Life. Not only was there not enough voice present in most of the range, he took such liberties with 'It ain't necessarily so' that were vulgar and out of character, that it ruined that number for me. Cab Callaway, all those years ago, sang the socks off this role.
One dramatic touch that was missed here, that I saw in the 1953 production, was at the end, when Bess has gone off to New York with Sportin' Life, and Porgy say he's going to New York to find her. In the earlier production he says 'Bring me my goat!', and a little goat is brought on stage attached to a wagon. He sets off to New York on his knees behind the goat. I always have to cry at that moment.
(In the original productions, Porgy spends the whole opera on his knees on a little wheeled platform that allows him to get around.)
In this production he was on a crutch the whole time, and at the climactic moment said 'Bring me my crutch', and sets out to walk to New York.
I missed the goat!
Ward Stare led the fine orchestra, always keeping a good balance with the singers, which seems to be a CLO thing. I think partly because part of the orchestra pit may be below the stage as in Weimar, which would make the difference.
A very imaginative set by Peter J. Davidson, good costumes by Paul Tazewell, and lighting by Mark McCollough made the production come alive.
The fine chorus, prepared by Michael Black was sensational in the magnificent choral moments.
It was a glorious evening! And that Eric Owens can sing for me any time!!
