Greensboro Opera Review: Porgy and Bess – OperaWire

(Credit: Luke Jamroz)

The long-awaited Greensboro Opera production of George Gershwins Porgy and Bess starring Rhiannon Giddens,Thomas Cannon, and Sidney Outlaw was performed on Jan. 21 and 23, 2022 at the Steven Tanger Center for the Performing Arts. Originally the opera was scheduled to take place in 2020 but was postponed due to the start of the pandemic.

The wait was well worth it.

Over the past two years living with COVID-19, life has been altered for everyone. People have clung to what brings them comfort and to the people that are most important to them. Artists, especially performing artists, have felt this deeply. In 2020 when performances were being canceled and rescheduled, the opera community found ways to keep going and to support one another. While it took this production four years in total to finally be performed, it happened because of the resilience within the community.

The story of Porgy and Bess overlaps with todays current pandemic. Porgy and Bess is set in the small Charleston, South Carolina neighborhood, Catfish Row during the Great Depression. Much like today with the effects of the pandemic, the people of Catfish Row rely on their community to keep them going.

This production in particular showed this sense of community and reliance. The stage direction of the opera by Everett McCorvey, along with Associate Stage Director Richard Gammon and Assistant Stage Director and Assistant Choreographer Peggy Stamps did not take many risks in changing or modernizing the staging, but it worked. It was simple and direct. It showed the Catfish Row community as they were.

The ensemble opened the show setting the tone and giving the audience a sense of the way of living in Catfish Row. There was music, dancing, and some division among the community. The two scaffolding sets on either side of the stage separated the men and women; the mens chorus on the stage left playing craps and the womens chorus on stage right scattered on the scaffolding doing a variety of household activities. This staging choice was carried throughout most of the opera.

As the story develops and Robbins is killed, the people of Catfish Row stand by each other for protection and comfort.

Grammy Award-winning musician Rhiannon Giddens sang the title role of Bess. Her unique voice with folk, blues, gospel, and classical influences served her well here and made for a memorable Bess. Giddens interpretation of the reprise of Summertime was outstanding. For the final glissando at the end of the piece, Giddens sang from a high B down to the B below middle C. This choice fit her voice and style perfectly and was executed seamlessly.

Giddens acted with devotion to her character and was diligent in creating a genuine connection with other characters, making all of Bess choices and experiences touching. She depicted Bess internal struggles in her relationships with Crown and Porgy and with happy dust in a convincing manner. She made these things evident through her visceral acting and her vocal expression. Each note she sang came across as if it was important and unique, creating a deep connection to her suffering.

Giddens portrayal of Bess paired well with Thomas Cannons Porgy. Cannon was fully committed to the character. This was evident through his physical representation of Porgys disability and the longing, sorrow and heartbreak in his voice and expression during Oh, Bess, Wheres My Bess? and Bess is Gone.

Baritone Michael Preacely sang the role of Crown with a rich, warm sound. He demonstrated a strong possession of Bess that meshed well with his co-stars characterization of the title role.

The supporting roles that stood out were Clara performed by soprano Indira Mahajan, Jake sung by baritone Sidney Outlaw, Sportin Life by tenor Robert Anthony Mack, Serena sung by soprano Angela Rene Simpson, and soprano Paisley Alexandria Williams short scene as Strawberry Woman.

Soprano Indira Mahajan sang the role of Clara. In the score, Summertime is marked Lullaby, with much expression. Mahajan followed this direction carefully. Her fluttery vibrato soared through the concert hall from the first notes of Summertime. This part of her singing stood out and was stunning. Her pianissimos were nicely controlled, but sadly most ending consonants were lost.

Outlaw commanded the stage in It Takes a Long Pull to Get There while not overpowering or upstaging the ensemble. His voice was so free and open, and full of spin. This control of his technique allowed for impeccable diction.

Robert Anthony Mack played a very fun and engaging Sportin Life. Macks playful version of It Aint Necessarily So had a fun jazz and classical mix that was delightful and fitting for the character. Also, his dancing and general ease of movement were excellent.

In My Mans Gone Now and Oh, Doctor Jesus Angela Rene Simpsons dark, warm, soulful tone added to her heartfelt performances.

Paisley Alexandira Williams spirited Strawberry Woman was cheerful and flawless. Her voice sailed to the high notes effortlessly. Her stage presence was captivating.

Awadgin Pratt conducted Greensboro Opera Orchestra with great care. He was engaged with the singer(s) and treated each piece with a level of individuality. This made for a united performance between the singers and orchestra.

That said, the full ensembles sound was never blended the mens voices continuously overpowered the womens. Mainly only the soprano one part of the womens was heard which created a lack of fullness in the ensembles sound. The only times there was a united sound between the choruses was when the womens chorus or the mens chorus was singing with a soloist.

For example in Claras Summertime, the added female voices supported her beautifully. This was also the case in It Takes a Long Pull to Get There, there was a nice blend between all voices. There was no discussion on the chorus, so theres no way of knowing if this was an intentional choice to vocally demonstrate the typical disunion between males and females during this era and the communities built between the sexes or if this was simply a stylistic choice. However, it still sounded off in the hall.

Ultimately, this production of Gershwins Porgy and Bess was quite enjoyable. All of the music, acting, staging, and design elements were carried out in a pleasing way. The strong sense of community throughout the opera was uplifting.

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Greensboro Opera Review: Porgy and Bess - OperaWire