I can’t fault conductor Viswa Subbaraman’s tempi or the energy and variety of the playing, but the recorded orchestral sound doesn’t come through quite as clearly or vividly as I would have liked. For this production, the soundtrack was recorded at Seattle Symphony’s Benaroya Hall, allowing a somewhat reduced version of the Seattle Opera Orchestra to spread out over the stage, with singers in the audience seats. There are snatches of Britten at his most lyrical, echoes of John Adams’ rhythmic propulsion when the pace of events speeds up. Article about Oregon Symphony's Studio125 availabl.Dove’s music constantly shifts in style as the narrative proceeds, refined, prosaic or madcap as the occasion demands."Flight” soars in filmed version by Seattle Opera.Carlos Kalmar hired as Director of Orchestral & Co.Preview of weekend VSO concerts with Zuill Bailey.Emotional performance by Zuill Bailey puts a bow o.The Refugee has a magic stone that his gives away, but that gesture has unanticipated consequences. Sharleen Joynt’s coloratura soprano travels amazingly sky-high when describing the wonder of jets coming and going, and she easily put a glint of steel into her voice when conveying disgust at the randy assignations between the Steward and Stewardess.ĭamien Geter embodied an understanding Immigration officer with a resonant bass-baritone. With effervescent smiles and ready-to-please demeanor, Sarah Larson as the Stewardess and Joseph Lattanzi as the Steward cheerfully covered any issue when it was announced that all flights would be delayed because of violent weather. Margaret Gawrysiak, marvelously created the Older Woman, who hoped to meet a much younger lover. Aubrey Allicock was terrifically convincing as the self-centered diplomat who looked forward to his promotion to the cold, gray capital city in a remote land, but he was countered equally perfectly Karin Mushegain as the pregnant wife, whose last-minute refusal to board their plane stuck her overnight at the airport. There’s Bill and Tina, sung persuasively by Joshua Kohl and Karen Vuong, respectively, seeking to rekindle their love for each other despite ongoing doubts by taking a vacation to a romantic destination.Īnother couple, the Minksman and the Minskwoman, had their own set of troubles.
Rather, it conveys the experience of nine additional characters as they crisscross each other at the airport terminal. In “Flight” the role of the Refugee was beautifully expressed by Randall Scotting, whose mellifluous countertenor expressed dreams and hopes that exist far beyond the departure lounge.īut “Flight” does not revolve merely around the predicament of the Refugee. Through a variety of close-ups, wide shots, split screens, and other visual wizardly – thanks to film director and sound designer Kyle Seago – “Flight” connected terrifically as a modern comic gem.Ĭommissioned by Glyndebourne and written in 1998 by Dove with a libretto by April De Angelis, “Flight” is based loosely on the real-life drama of an Iranian refugee, Mehran Karimi Nasseri, who lived for 18 years in Charles de Gaulle Airport. Directed by Brian Staufenbiel, this innovative, cinematic presentation of Jonathan Dove’s opera made terrific use of The Museum of Flight, repositioning it as an airport lounge and the deck of the traffic controller. Seattle Opera’s film production of “Flight” soared with excellent singing, acting and storytelling, taking this not-so-well-known opera on a new trajectory across laptops and tablets in living rooms around the globe. Sharleen Joynt as the Controller | Video still by Kyle Seago
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