Thamos, King of Egypt arrived to Cleveland
Opera Circle gave this year two spectacles important for its up-to-date achievements. These were “Dido and Aeneas” by H. Purcell and “Thamos, King of Egypt” by W. A. Mozart. Since the first work was already described in Forum, let’s discuss the opera “Thamos, King of Egypt”. Is it only an opera or something more? Was it written just by Mozart? What should we call this kind of a spectacle where music, solos and assembly of singers, choruses, poetic and philosophical recitations, and dance (represented by many ballet interludes) are equally important?
When it comes to libretto we have a certain novelty. It was written by two authors: T. Ph. Baron von Gebler, a dramatist living in Mozart’s time, and Dorota Sobieska, whose part was substantial. Sobieska kept main plots and likeness of characters extending the legend written a long time ago for theater. The incidental music was mainly choral. In order to make it a full show the music needed to be expanded to include new arias and interludes, a task given to Halim El-Dabh, Egyptian by birth, Kent State University professor, and a composer of world renown. This seemingly very risky experiment turned out to be a success. The classical music of Mozart is juxtaposed in this new piece with the music of the XXI century. The enriched language of modern composition added to the piece a lot of lyrical quality and Egyptian character based on the folklore, because the action of the story is placed in ancient Egypt.
Two threads intertwine in the story: romance and a ruthless fight for power. Villains must surrender, even perish under the pressure of goodness and noble aims. Nobody here is a murderer; the strength of the God of Sun causes the bad people to step aside or die, and the pair of lovers, Sais (Dorota Sobieska) and Thamos (David Sadlier), find themselves in the middle of a storm of events and become husband and wife. Besides, Thamos becomes a king. The fact that we were able to see this work is a result of the chance incident that often rules human fate. In order to celebrate the tenth anniversary of Opera Circle Dorota Sobieska was planning to create something new and original. She thought about writing music to the biblical Genesis, but she was not sure about the choice. With unexpected help came a radio program she listened to while driving. It was Mozart’s Thamos – with beautiful choral music. She could not drive anymore, stopped, and listened to the enchanting music. Time, many connections, conversations, her creativity, engagement of artists, many people, among others Halim El-Dabh, whom she knew for almost twenty years, wrote the rest. Was she planning a cooperation? On such a scale? And with such sensational results – it is hard to say. This work will not be lost. The creators will publicize it, send it to orchestral assemblies, to musical theaters, to conductors in different countries, in a version written for respective instruments by Wanda Sobieska.
It is fascinating, that such a small ensemble, with the cooperation of Polish-American circles supporting Opera Circle, was able to perform a work with such a large cast. Music Director Jacek Sobieski conducted a full orchestra of 40 members. The eight soloists, found and chosen from the best, were most aptly cast to represent the characters in the story.
The choral parts were performed by two assemblies numbering 70 singers: the Summit Choral Society and Opera Circle. Ballet was represented by groups from Youngstown Connection and Verlezza Dance from Kent. The costumes, decor, and text translations completed the spectacle. Thanks to the projected subtitles the spectators were able to understand the context of the drama presented in three languages: German, English, and old- and modern-Egyptian.
The piece had good reviews in The Plain Dealer. Music critic Donald Rosenberg, a specialist of high class, described this musical event twice with a great acknowledgment – on the 7th of May as a preview before the premier and after seeing the spectacle on May 16th. He presented Opera Circle with unusual warmth and recognition describing it as a “small group with great ambitions” and adding, that not many musical theaters in the world would decide to present an obscure and uncompleted work by Mozart on such a large scale. The critic gave accolades to the performers and composer Halim El-Dabh calling the performance masterful and full of finesse.
I had the pleasure not only to participate in this spectacle as a member of the chorus, but also to host the soloist tenor, David Sadlier, for a couple of nights. Even though he came back after the spectacles tired and late, he readily shared with us his impressions about the directors of Opera Circle. He liked the aria of Sais and Thamos very much, saying it was ideally composed and directed. D. Sadlier would like in the future to sing works by Wagner, but he also feels famous in modern operatic music. He has a very strong and well-controlled voice; we will probably hear his name again if he’ll become a member of a good theater. Practically all soloists deserve an individual presentation. Michael Match is a contra-tenor with a voice of unusual strength and high reach. Other performers were Ray Liddle (baritone, as Sethos), Marc Schapman (tenor, as Pheron), Laura Avdey (mezzo-soprano, as Myris), Jonathan Stinson (baritone, as general Phanes), and Robert Davis (tenor, as Hammon).
The three performances of “Thamos, King of Egypt” took place in the church of St. Stanislaus on May 12, 18, 19 at 8:00 PM. Congratulations to the Opera Circle and thanks to all co-creators and participants. On the occasion of last (unfortunately) jubilee concert we sing to all 100 years as loud as possible and with the best wishes.
Dr. Elżbieta Ulanowska
Forum, 6/2006
Tags: ancient egypt, Cleveland, Dance, Forum, kent state university, Opera Circle, state university professor, world renown
