The Well-Tempered Ear

Classical music: Mark Adamo’s “Little Women” is a second-rate opera that got a first-rate production from the Madison Opera | February 12, 2016

By Jacob Stockinger

Loyal readers of this blog know very well the name of Mikko Rankin Utevsky. The young violist, baritone and conductor is a senior at the University of Wisconsin-Madison School of Music, where he studies with Pro Arte Quartet violist Sally Chisholm and conductor James Smith, plays in the UW Symphony Orchestra, and sings with the University Opera.

Utevsky, who has won awards and impressive reviews for his work in music education since his days at Madison’s East High School, is the founder and conductor of the Madison Area Youth Chamber Orchestra (MAYCO – www.MAYCO.org), which will perform its sixth season this summer. He also directs a local community orchestra, The Studio Orchestra (www.disso.org).

You can check out his many honors and projects by typing his name into the search engine on this blog site.

Utevsky offered The Ear a guest review of this past weekend’s performance of Mark Adamo’s “Little Women” by the Madison Opera.

I immediately took him up on the offer. After all, he is a fine and perceptive writer who, you may recall, blogged for this post when he was on tour with the Wisconsin Youth Symphony Orchestras (WYSO) tour to Vienna, Prague and Budapest.

Also, his latest venture was the successful recent launch of the Impresario Student Opera at the UW-Madison.

Here is the review by Mikko Utevsky (below) with production photos by James Gill for the Madison Opera:

new Mikko Utevsky baton profile USE

By Mikko Rankin Utevsky

A great opera can be memorable in many ways. You might remember how you felt at the climaxes of the music, or walk out humming the Big Tune from the showstopper aria, or leave with an image fixed in your mind’s eye of the most dramatic moment in the first-act finale.

In an opera by Wolfgang Amadeus Mozart or Giuseppe Verdi or Giacomo Puccini, you might remember all of these. But in American composer Mark Adamo’s debut opera, “Little Women,” there’s nothing to remember — no great moving moments, no thrilling stage pictures, no hummable tunes.

There are motifs, certainly, and recurring lines. But “Things change, Jo” (song by acclaimed mezzo-soprano Joyce DiDonato in the YouTube video at the bottom) can hardly hold a candle to “O soave fanciulla” in Puccini’s “La Bohème,” the first-act Trio in Mozart’s “Figaro,” the parents’ sextet in Jake Heggie‘s “Dead Man Walking,” or the quartet from Verdi’s “Rigoletto.”

It’s all technically correct, but it’s not great opera — neither great storytelling nor great music.

I left the Sunday performance by Madison Opera with the unshakeable feeling that Adamo’s score had been performed far better than it deserved.

Part of the problem is that Mark Adamo (below) is too clever for his own good. The libretto, from the classic 19th-century American novel by Louisa May Alcott, is stronger than the music — never quite moving, but full of evocative and witty phrases.

The music displays a clear command of naturalistic settings of the text, rising to peaks when it should and creating compelling atmosphere. But it always seems to pull back just when a lyrical melody might break forth, or when an emotional climax draws near.

Mark Adamo

Several times he uses the gambit of two conversations on stage at the same time, talking about the same things. But the pacing is never quite right, and the unison lines are predictable and trite rather than powerful. He lacks the confidence to let people talk over one another unless we’ve already heard half of the lines. (Whether the lack of trust is in the audience or stems from his own compositional skill is a matter of conjecture.)

The dramatic and musical tricks are all “correct” — Adamo knows his business — but none of them make an emotional impact, a point driven home by their success in last season’s “Dead Man Walking,” which employs all the same devices to far greater effect. When the opening scene came back at the end of the show, I was ready to walk out. Enough already!

It is a sad fact that the most moving part of the whole affair was only half Adamo’s — a setting of Goethe’s “Kennst du das Land” (Do You Know the Land) thrown into the second act that almost approached melody, and tugged at the heartstrings in a way no other scene of the opera managed to do.

Beth’s death scene – below top with Chelsea Morris Shephard as Beth (left) and Heather Johnson as Jo — was a close second, admittedly.

Little Women 143 Beth dies GILL

And the lovely wedding vow — below bottom with, from left, Alexander Elliott as John Brooke; Courtney Miller as Meg; Rick Henslin as Gideon March; Elizabeth Hagedorn as Alma March — was marred only by Rick Henslin’s intonation.

LIttle Women 101 wedding GILL

The minimal set cheated the opera out of the lush visual setting it deserved. If the realism of the story had been played up, with painted walls and structures, the human elements of the story might have been more believable in a setting that doesn’t feel as though a strong wind might knock it all down.

Little Women 58 GILL

Instead, a few flown-in flats with cheap-looking projections stood in for the occasional wall, and some rather cool shifting images on the scrim in front of the orchestra highlighted the apparent supernatural elements of the story — not that I thought there were supposed to be any in “Little Women.”

Little Women Jo 40 GILL

This is not to say the visuals were all misses — costumes, wigs, and makeup (Karen Brown-Larimore and Jan Ross) were excellent, particularly in establishing distinctive characterizations for the four sisters, who could easily have been hard to tell apart in a less careful production.

The ghostly vocal quartet that opens the opera — and haunts various scenes in the middle, although I’m told they were intended to be offstage — felt like nothing so much as discount Eric Whitacre: cascading clusters and whole-tone scales with no particular narrative purpose, illuminating nothing about the plot. I did find myself wondering if we were supposed to think Jo had gone insane, between that and the drifting projections on the set, but I’m sure that wasn’t the intended effect.

Despite all this, the voices themselves were superb, and married to strong acting skills to boot. Time and again Madison Opera has shown a knack for finding up-and-coming young singers with tremendous talent, and this cast was no exception.

The four Little Women themselves (below, from left, with Eric Neuville as Laurie; Courtney Miller as Meg, Heather Johnson as Jo; Chelsea Morris Shephard as Beth; Jeni Houser as Amy), aided by sure-handed direction from Candace Evans, mustered warm, credible camaraderie and sisterly love.

They, and their paramours, baritone Alexander Elliot and tenor Eric Neuville, all displayed rich and even vocalism, with clear and precise English diction rendering the supertitles mostly superfluous.

Litlle Women 22 GILL

As the aloof Aunt March and the mother Alma, Brenda Harris and UW-Madison guest professor Elizabeth Hagedorn were secure and confident in their roles as well.

As the German teacher Friedrich Bhaer (below left, with Heather Johnson as Jo), Craig Verm’s accent faded in and out, but his aria, the aforementioned setting of Goethe’s famous “Kennst du das Land,” was the highlight of the show despite this.

Little Women 130 GILL

Guest conductor Kyle Knox (below), a graduate student at the UW-Madison, led musicians of the Madison Symphony Orchestra capably through a score mired in complexity and made the result sound natural — not an easy feat.

Kyle Knox 2

I admire general director Katherine Smith (below) and the Madison Opera for taking a chance on contemporary American opera, and I dearly hope they do so again next season, and the season after that.

In a tremendously conservative industry, it takes guts to put on something by a living composer when everyone else is picking the safe options to sell out the house. And I’d rather see a contemporary opera and hate it than sit through a mediocre “Bohème” (though this fall’s “Bohème” by the Madison Opera was quite excellent).

Kathryn Smith Fly Rail Vertical Madison Opera

Modern opera is a gamble, both for the box office and for the musicians. Sometimes you find “Dead Man Walking.” And sometimes you don’t. I hope the next contemporary piece to grace the Capitol Theater stage is one for the ages, even if this one, well, wasn’t.

NOTE: For purposes of comparison, here are links to two other reviews of the Madison Opera’s production of “Little Women”:

This is the review John W. Barker wrote for Isthmus:

http://isthmus.com/arts/stage/madison-opera-little-women/

And this is the review by Greg Hettmansberger, who writes for Madison Magazine and now has his own blog WhatGregSays as well as monthly appearances on WISC-TV:

https://whatgregsays.wordpress.com/2016/02/06/madison-opera-stands-tall-for-little-women/

And here is a  link to an interview with Mark Adamo:

https://welltempered.wordpress.com/2016/02/03/classical-music-it-always-starts-from-the-singing-line-composer-and-librettist-mark-adamo-talks-about-creating-his-popular-opera-little-women-which-will-be-perfo/

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5 Comments »

  1. Wow! And this is not a student newspaper, but a serious column?

    A. Little Women has been produced 90+ times in 18 years; 9 times this season alone. (It’s called Google.)

    B. Compare it to Dead Man Walking, sure: but THAT piece has only been recorded once. Which proves…?

    C.”Everything’s correct, but…” Correct? There’s a style book? Do only violists know of it?

    D. Since he’s invoked here, remember that Sondheim suggested that “hummable” really means “familiar.” We’re really comparing “Things Change, Jo,” in a company premiere, to a thousand recordings of Mozart?

    What a disgrace! Snark, passed off as insight! Madison, and Madison Opera deserves better. Oh: wait: it actually got it, from some grown-ups…

    http://host.madison.com/ct/entertainment/arts_and_theatre/review-madison-opera-finds-great-drama-in-little-women/article_1e07dc88-68dc-5e2c-b5cb-83ac84d7fc4c.html

    Comment by Janice — February 13, 2016 @ 9:03 pm

    • Not sure where you get your facts from, Janice.

      Wikipedia says only 35 productions of this opera in total (and many of those are at academic institutions, including universities of Colorado, Biola (!), Delaware and Central Oklahoma (!)), NOT at major opera houses unless you consider Fayetteville Opera, Opera in the Ozarks or by the Sugar Creek Symphony in that league. In fact, ZERO performances at any of the major opera houses in the world.

      Classicalmusicsales reports only 3 performance of this opera in 2015. See http://www.musicsalesclassical.com/composer/work/23697

      And just 1 recording since the opera’s inception That’s hardly a resounding success.

      Comment by fflambeau — February 14, 2016 @ 7:34 pm

      • Well: you could certainly go to infallible Wikipedia. Or, for the performance data, you could go to the publisher:

        http://www.musicsalesclassical.com/news/3413

        If you think Houston Grand Opera, New York City Opera, Minnesota Opera, Pittsburgh Opera, State Opera of South Australia are beneath notice, that’s your call. But they’re all on the performance list, which is 9 pages long.

        And again: Dead Man Walking, also, has one recording. The point is?

        Comment by Janice — February 16, 2016 @ 2:22 pm

  2. Paul Anthony, I think you miss the critic’s point (with which I agree, and I usually do disagree with this critic): second-rate opera which received a first-rate performance. Very little in the way of memorable music; it is noteworthy that there appears to be only one CD recording of this opera, by the Houston Grand Opera. Contrast that with the likes of the operas the critic is talking about.

    Moreover, this opera has only been produced something like 35 times in the last 15 years; not a smashing success, in other words.

    Comment by fflambeau — February 13, 2016 @ 7:10 am

  3. I completely agree that the musicians (singers and orchestra) were fantastic in every way. We are truly blessed that Madison Opera keeps finding incredible American talent and seems to have a remarkable relationship with the instrumentalists in the MSO to use in their productions. If you missed it, you should plan to see whatever Madison Opera puts on next season! We’re too spoiled by the companies excellent track record (Boheme, Barber, Sweeney Todd, Fidelio, Dead Man Walking, Daughter of the Regiment, on and on…) under Kathryn Smith and John DeMain; and I can’t wait for their 2016-17 season announcement!

    However, the critical thoughts expressed by Mr. Utevsky on Adamo himself come across like a child grasping at ideas he has no true knowledge about, and using synonyms and gaudy language to cover up his lack of understanding. It’s clear he tries to sound like a seasoned critic (like Mr. Stockinger and others) but they have decades of experience and have heard pieces like Boheme, Figaro, and Rigoletto dozens and dozens of times.I’m certain Mr. Utevsky has not more than 3 performances of each piece, if that. Yet he tries to persuade the reader into making us believe he isn’t a senior in college (21-22 yr old?); but a grizzled veteran – which he fails at each time.

    While this opera may not be in the same vain as Dead Man Walking; it certainly does pull at the heart and there are beautiful arias in it (the mentioned “Kennst du das Land”, “Things Change, Jo”, and also the superbly sung “There was a Knight Once”). Every woman and child around me was in tears of joy and happiness throughout thanks to the excellent art created on the stage. Perhaps that is due to its immediate connection with the book, whom many seemed to have read (while men are not as interested in). Perhaps there is a disconnection from Mr. Utevsky on this end (another reason to have knowledge on the subject matter at hand).

    I know Mr. Stockinger must be busy with the many performances happening in Madison (something the city should be proud and supportive of – truly a bountiful feast of art for its citizens to enjoy all year long); but I hope he may write again on the opera, instead of handing it off to youthful brashness that thinks it has seen, heard, and understands it all.

    Comment by Paul Anthony — February 12, 2016 @ 11:57 am


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