DCist Goes to the Opera: Peter Grimes

This staging, directed by Paul Curran, comes to Washington from Santa Fe Opera, where it premiered in 2005. Some adaptation of the production has been necessary, because of the different nature of the Santa Fe theater, open at the back and sides to the desert. True, the wind was the desert kind that dries out your eyeballs and not the briny sea kind, but the breeze rustling through the theater helped connect the music to the environment. At the Kennedy Center Opera House, the staging seemed devoid of light (designed, as at Santa Fe, by Rick Fisher) and to be separated from the sea, perhaps because the raked stage made the maritime set pieces at the back of the stage difficult to see from some vantage points. The sets (along with costumes, credited to Robert Innes Hopkins) are simple, a set of sordid buildings, modeled on net houses in Suffolk, blandly painted, that close in on the characters claustrophobically to create interior spaces, into which the huge ensemble is often crowded on top of one another. The only false note this time around was the beginning of Act III, the dance at Moot Hall, which seemed too slapstick, especially two regulars who come out of the pub to urinate at the back of the stage, a cheap way to get a laugh.

The casting is among the best this season, second perhaps to Lucrezia Borgia, with the three lead roles sung expertly and with dramatic heft. Patricia Racette, returning to Washington after a noteworthy debut in Jenůfa two years ago, was dramatically affecting, a warm Ellen Orford with just the right amount of misguided maternal hunger. She was especially luminous in the softer moments, like the gorgeous Embroidery Aria and the women's quartet, turning a little strident and underpowered in the louder passages. Alan Held, a local favorite with a real career, was a luxury casting as Captain Balstrode, the kindly counterpart to his other recent sea-faring role, the cursed captain of the Flying Dutchman. Tenor Christopher Ventris had plenty of voice for the title role, although a few cracks were evident toward the end, but it was an oddly reticent performance, good but not great. Ilan Volkov, who has made modern music a sort of calling card as in his recent appearance with the National Symphony Orchestra, had a secure grip on the score, although he was able to draw only so much from the orchestra, which played just fine (some issues in the clarinets and oboes aside) if a little carefully. The star of the evening was the Bible-thumping chorus, directed so ably by Steven Gathman and mixing seamlessly with a generally strong supporting cast, especially local favorites like John Marcus Bindel (Hobson) and character tenor Robert Baker (a fey Rev. Adams).

Washington National Opera's production of Peter Grimes continues for four more performances through April 4. At the time of writing, only the March 29 matinee has sold out.