The hype leading up to the Virginia Opera’s production of Carl Maria von Weber’s “Der Freischutz (‘The Magic Marksman’),” seen in Richmond’s Carpenter Theatre Sunday, has been considerable. Much of it has focused on the fact that it’s rarely been done in the states, the Metropolitan Opera last having staged it some 45 years ago.
Although there are many proposed reasons for its lack of staging, one of the most mentioned is that its too firmly based on German folklore and manly themes involving hunters, guns and magic bullets and might turn off those who would prefer more lyrically thrilling works such as, for example, those found in Italian opera.
While that latter feeling is probably truer than not, the main point is that this work is considered the standard setter of the era of German romantic opera and the inspiration for other Germanic composers, notably Wagner. As such, it deserves to be given the best possible chance of showing why it’s known as such a trend setter.
Although VO fans are accustomed to seeing operas set in all sorts of interesting locales and situations, many of them otherworldly or even horrifying, acclaimed director Stephen Lawless felt moving it from a spirit-filled forest of Germany to our Northeast and a 19th century German émigré community would make it more palatable.
Additionally, to better secure acceptance, the decision was made to sing it in English. As it was, it simply wasn’t necessary, especially since many of the English lyrics couldn’t be understood and required the supertitles. Given that, it might just as well have been done in German, where the mixture of vocal and orchestral line that made it a trendsetting opera could be more fully appreciated. And why mask its greatness with a silly translation that relied too often on cutely rhymed couplets that, at times, reduced the dramatic essence of the plot and its essentially serious characters to silly participants.
As far as singing goes, it went well enough. Kara Shay Thomson (Agathe) offered a strongly focused, lyrical soprano and dramatic delivery; Joseph Barron (Kaspar, the man under the devil’s power who attempts to exchange his soul for Max’s) likewise delivered a strong and convincing bass baritone and dramatic presence; Katherine Polit (Aennchen, Agathe’s cousin), displayed a light but appealing, almost coloratura quality soprano, albeit often within the disturbing context of a comic relief figure; and Jake Gardner (as both the devil and holy man) brought great stage and baritone appeal.
Oddly, Metropolitan Opera tenor Corey Bix (Max, a sharpshooter who deals with the devil, Samiel, for magic bullets to help him win the hand of Agathe in a shooting contest) seemed to have pitch issues and tended to sing to the sides of the stage and rarely to anyone on it, the latter dramatically and musically distracting.
In addition to fine vocal efforts on the part of secondary players, some of the best efforts of the affair came from large chorus which was robust and cohesive. Superbly supporting the singers and brilliant score was Adam Turner and the Virginia Opera orchestra, the combination of which was striking and winning.
Although there were several staging and set design issues, a primary one dealt with the pivotal Wolf’s Glen where, at midnight, souls are to be exchanged and magic bullets crafted. The whole scene, which is supposed to be spooky and even gruesome, was tame and lacked any haunting or forbidding quality. Virginia Opera has crafted many very creative moments in the past. This was not one of them. In fact, like the opening scene in which Max misses the mark in a shooting competition that sets in motion the diabolical action that follows, this effort tried too hard and in the trying missed the mark.
Shulson, a Williamsburg resident, has been covering the arts for over 40 years. He makes a guest appearnce in Margaret Truman’s “Murder at the Opera.”
