{"id":83,"date":"2026-05-20T12:08:31","date_gmt":"2026-05-20T12:08:31","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=83"},"modified":"2026-05-20T12:08:31","modified_gmt":"2026-05-20T12:08:31","slug":"the-redemption-of-vanessa-a-neglected-operatic-masterpiece","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=83","title":{"rendered":"The Redemption of \u201cVanessa,\u201d a Neglected Operatic Masterpiece"},"content":{"rendered":"
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\u201cVanessa\u201d and I go way back. I first encountered Samuel Barber\u2019s opera in 1979, when, at thirteen, I happened to catch a PBS broadcast of a production at the Spoleto Festival in Charleston, which had been directed by Barber\u2019s longtime partner, the composer and librettist Gian Carlo Menotti. I was hooked at once, swayed by the astonishing beauty of the music and the unerring craftsmanship that held it all together. The crux of the plot\u2014an aging aristocrat waiting for her long-lost lover\u2014was alien to my experience, but Barber\u2019s constant current of melody revealed such a profound sympathy for his characters that I was carried along with the tide. Soon after, I used some of my allowance to buy an R.C.A. recording featuring the mostly American cast from the Metropolitan Opera premi\u00e8re, a dream team that included Eleanor Steber, Rosalind Elias, and Nicolai Gedda, conducted by the eminent Dimitri Mitropoulos. (It is just as unrivalled an interpretation as Maria Callas\u2019s \u201cTosca\u201d with Victor de Sabata.) Barber\u2019s idiom was at once extremely conservative\u2014it bore the influence of Brahms, Sibelius, and Tchaikovsky\u2014and utterly original. A prime example in \u201cVanessa\u201d is \u201cUnder the willow tree,\u201d a sinister and rhythmically incisive ensemble scene that masquerades as a catchy folk song. The opera won the Pulitzer Prize in 1958, but its unfashionable avoidance of the serialist and experimental techniques that were rapidly taking over the academic musical establishment made it a piece that few musicians wanted to talk about, or even acknowledge. \u201cVanessa\u201d was like the illegitimate cousin of a grand old family who is paid to stay away.<\/p>\n

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So, for years, I held my fervent reactions to myself. Now I know conclusively that I am not alone: the latest manifestation of the work\u2019s growing popularity arrived last Thursday night, when Heartbeat Opera, the scrappy and daring twelve-year-old company that stages radical transformations of classic pieces, brought its version of \u201cVanessa\u201d to a sold-out house at the Baruch Performing Arts Center. It\u2019s the fastest-selling show in the company\u2019s history, and several performances have already been added, through May 31st.<\/p>\n

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Prior to that quietly successful Spoleto production (which, thankfully, occurred shortly before the composer died), \u201cVanessa\u201d had been shunned for some time. After its triumphant Met premi\u00e8re, in January of 1958, and a couple of brief revivals through 1965, the piece had decisively departed from the repertory, failing to entrench itself the way the finest operas of Benjamin Britten had done. This was the result partly of the negative reaction of the European press when \u201cVanessa\u201d came to the Salzburg Festival in the summer of 1958, and partly of the failure of Barber\u2019s second opera, \u201cAntony and Cleopatra,\u201d which had opened the new Metropolitan Opera House at Lincoln Center in 1966, tarnishing the composer\u2019s once solid-gold brand.<\/p>\n

But, as the century proceeded toward the new millennium, \u201cVanessa\u201d began to return to favor, reaching new audiences with productions by the companies of Washington, Los Angeles, Santa Fe, Monte Carlo, and New York City Opera. This journey culminated in the 2018 production at Glyndebourne, which accomplished the feat of finally reducing (most of) the London critics to abashed admiration. Why? Because, folks, nobody writes music like this anymore<\/em>. The piece is just too good to throw away.<\/p>\n

Granted, \u201cVanessa\u201d has always had its haters, among them Andrew Porter, who was the distinguished, longtime music critic of this magazine. It began at Salzburg: Who are these Americans, writing a European-style opera instead of one on an American theme? (The opera takes place at an opulent estate in a \u201cnorthern country about 1905.\u201d) And why in the world would anyone composing after the Second World War re\u00ebmbrace the long-irrelevant late-Romantic idiom of Puccini and Strauss, with its lush harmonies, rich orchestration, and powerful melodies? Well, why not, when you can absorb the style so convincingly and thoroughly? Barber had proved in \u201cKnoxville: Summer of 1915,\u201d an orchestral song that sets a text by James Agee with both sublime sensitivity and casual perfection, that he could do Americana as well as Copland had, and could therefore allow himself to move on. And \u201cVanessa\u201d is only so European. Listening to Heartbeat Opera\u2019s committed performance, I wondered why it had taken me so long to appreciate the bluesy cadences of the work\u2019s most famous aria, \u201cMust the winter come so soon?,\u201d or the sinuously winding melodic arc of the second act\u2019s sulfurous duet, \u201cLove has a bitter core, Vanessa.\u201d<\/p>\n

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The Heartbeat Opera production is<\/em> jarring, and not just because of the treatment of the music. Heartbeat\u2019s music director, Dan Schlosberg, has pulled off another virtuoso feat, reducing Barber\u2019s meticulous, string-rich orchestrations down to a band of seven instrumentalists, with a piano trio and a harpist joined by three wind players doubling many instruments, in the manner of Broadway pros, allowing the score\u2019s \u201cAmerican\u201d elements to emerge more starkly. Jacob Ashworth, the company\u2019s artistic director, has removed the original\u2019s choral scenes, concentrated the action, and cut down the cast to just the five principal roles. (Some of us of a certain age will miss the deliciously atmospheric opening scene\u2014\u201cPotage cr\u00e8me aux perles\u201d\u2014in which a character orders up a sumptuous meal in French, as Barber himself surely did on innumerable occasions.)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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But it is the show\u2019s director, R. B. Schlather, who has drawn out the full implications of Gian Carlo Menotti\u2019s libretto, which in the past was much more savagely criticized than the music. (Porter called it \u201cromantic rubbish\u00ad\u2014Isak Dinesen rewritten for housemaids.\u201d) The plot is high-class soap opera, offered at a time when most composers were avoiding any subject that glamorized the bourgeoisie. Vanessa (Inna Dukach), a wealthy, middle-aged woman who is jealously guarding her beauty, sits in her snow-surrounded mansion, awaiting the return of a lover, Anatol, from whom she was separated years ago. A man named Anatol (Freddie Ballentine) arrives\u2014but it\u2019s the impecunious son of her<\/em> Anatol, now dead. She recoils; the young Anatol, after a lavish dinner, makes love to Vanessa\u2019s niece, Erika (Kelsey Lauritano), impregnating her. Expected to marry the charming gold-digger, Erika demurs when she realizes that Anatol has turned his attentions to Vanessa, who, in a swoon, looks past his obvious flaws. They announce their engagement at a winter ball; Erika runs out into the snow, losing her child in what is either a suicide attempt or a crude abortion. The May-September couple depart for Paris; now, Erika sings, \u201cit is my turn to wait.\u201d<\/p>\n

Schlather\u2019s approach is the opposite of the genteel Spoleto staging, which invoked the opulent sets and costumes of the Met\u2019s designer, Cecil Beaton, on a smaller stage. Dramatic currents, once suppressed, here bloom unashamed. The new Anatol paws Vanessa\u2019s body before she has a chance to turn around and recognize him; the Old Doctor (Joshua Jeremiah), formerly tipsy but elegant, is now a flat-out drunk, spraying Dom P\u00e9rignon all over the floor. Costumes are dark and minimal (at the end, Erika wears the same black-cocktail-dress-and-pearls ensemble that Vanessa wore at the opening); the staging is bare-bones\u2014just a couple of chairs, stark lighting, no projections, and a few minutes of dry ice during the snow scene. There was a lot of big singing in a small space: of the strong cast, Lauritano was the most effective in bringing full intensity at a lower scale, while Mary Phillips, a veteran Wagnerian at the Met, brought some luxurious vocal stylings to the small but pivotal role of the aged Baroness.<\/p>\n

Schlather forces us to confront Menotti\u2019s florid but acidic prose, in which the characters are so intent on lying to one another that they only answer questions with other questions, or else with high-flown koans and abstractions. In the closing quintet\u2014\u201cTo leave, to break\u201d\u2014Menotti\u2019s language becomes plainer and more devastating, and Barber sets it in a weave of canonic melody that rivals anything in Donizetti or Strauss. Heard whole, the Barber-Menotti product is as gloriously over the top as anything that Bette Davis ever made with William Wyler\u2014and Heartbeat\u2019s reduction of it to its burning cinders is as just as effective as Glyndebourne\u2019s grandly eloquent take. \u201cVanessa\u201d is here to stay.\u00a0\u2666<\/p>\n

Read more In Plain Sight<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The American composer Samuel Barber\u2019s 1958 opera was in disrepute for decades. 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