REVIEW OF THAÏS

Review of John Cox’s lavish Chicago Lyric Opera staging of Massenet’s opera now showing at Cinema Nouveau outlets. (Review by William Charlton-Perkins)

Starry skies, desert dunes and a palm-fringed oasis alternate with gilded interiors in John Cox’s lavish Chicago Lyric Opera staging of Massenet’s Thaïs, recently imported by New York’s Met to showcase reigning US prima donna, Renée Fleming, in one of her favourite roles as the opera’s 4th Century Alexandrian courtesan who eventually finds God. Unashamedly the raison d’être for this hark-back to unbridled French romanticism, the ultra-glamorous soprano is decked out in a succession of gorgeous Christian Lecroix gowns, especially designed for her New York appearances. The production was filmed for worldwide satellite transmission and is now showing nationally at South African Cinema Nouveau outlets.

Thaïs was first performed in Paris in 1894 with Massenet’s muse, the American soprano Sybil Sanderson, in its title role. It has since had to wait for suitably gifted protagonists to emerge periodically, for it to be resurrected. The last time it was seen at the Met was in 1978, when it was staged for Beverley Sills towards the end of her career. The current production catches Fleming at the height of her powers: given her extraordinary visual and vocal allure, it is no wonder the diva emotionally slays baritone Thomas Hampson as the evangelizing monk, Athanaël, on his quest to win her over from her depraved lifestyle.

After Massenet’s death in 1912, detractors slated the opera as dramatically implausible and musically uneven. But with sensitive interpreters it works well, give or take a few drawn-out bits in which the baritone protests too much, moralizing at length as he attempts to disguise his suppressed sexual obsession.

Jesús López-Cobos conducts with commitment and elegance, making the most of the score’s characteristic strengths, not least its linking motifs associated with its various characters and situations. Tenor Michael Schade is convincing as the rich merchant, Nicias, who hires Thaïs at exorbitant cost. He provides a suitable foil for Thomas Hampson’s Athanaël. The supporting cast is equally fine. The Met’s concert master, David Chan, delivers a memorable account of the work’s famous solo violin intermezzo, the bitter-sweet Méditation.

Thaïs is well worth seeing, but be prepared for a long haul (close on four hours), with intervals, backstage interviews, scene changes, et al. – William Charlton-Perkins