Review: CANDIDE at Santa Fe Opera

Since this year is the one-hundredth anniversary of Leonard Bernstein's birth, Santa Fe Opera opened its 2018 season on June 29th with his opera, CANDIDE. The show is based on Hugh Wheeler's book on the work of the same name by Voltaire. Librettists for the Scottish Opera-Old Vic version published in 1994 included Richard Wilbur, Stephen Sondheim, John La Touche, Lillian Hellman, Dorothy Parker and the composer. This version is thought to include Bernstein's final wishes for the production of CANDIDE.

Santa Fe Opera's website asks: "Is CANDIDE the best of all possible ways to launch our 62nd season?" After the opening night performance, the answer is a resounding "Yes." It's announced philosophy of optimism may not always produce the "best of all possible" results, but Laurent Pelly's production is a winner. Pelly not only directed the show, he designed the hundreds of costumes that assisted in telling the often far-flung story. No matter where Candide and his beloved Cunegonde appeared, their stories found solid ground in this fascinating production.

Chantal Thomas's scenic design consisted of books and pages from which the characters stepped forward to tell their tales. Even her props looked as though they were made of paper. Duane Schuler's atmospheric lighting and projections from 59 Productions helped tell many aspects of the characters' far-flung adventures.

When the opera opens, Candide and Cunegonde are living in Westphalia and Dr Pangloss is their teacher. From him they learn everything that happens in the world is for the best. Pangloss even maintains that war has good effects. Unfortunately, the world invades their home and the two youngsters are separated. Candide has a dreadful experience with the Bulgur Army and Cunegonde suffers the brutal fate of many young women in war.

Pangloss contracts syphilis from the maid, Paquette. The Old Lady loses one of her buttocks. The characters survive a multitude of perils including condemnation by the Inquisition. The latter gave Bernstein and his librettists the chance to write about "A lovely day for an auto-da-fe." Finally, Candide returns to Europe where he finds Cunegonde working as a whore in Venice. By that time the young couple both realize the world, itself, is neither good nor evil. Both good and evil exist in it. Thus, it is up to each generation to make their "best possible world."

Alek Shrader was a sweet-sounding, lyric Candide whose voice and actions showed his naiveté. Conductor Harry Bicket always kept the orchestra's decibel level low when he sang so the audience never missed a note of his beautiful sound.

Brenda Rae, the sparkling LUCIA DI LAMMERMOOR of last summer, was a spectacular Cunegonde whose "Glitter and be Gay" was a show-stopper. Not only can she sing coloratura with gusto, she can act, run, and dance while singing with great beauty.

Bass, Kevin Burdette, portrayed Voltaire, the original storyteller, and Dr. Pangloss, the teacher, as well as the smaller roles of Martin and Cacambo. He sang with polished mahogany tones and never seemed to tire. Amazingly, he was jumping about and performing aerial dance steps late in Act Two.

Helene Schneidermann was a lovable Old Lady whose part allowed Bernstein to remind the audience of his own background. She sang with misty tones as she reminisced about her origin in Eastern Europe. Baritone Jarrett Ott is fast making a name for himself because of his vocal and histrionic talents. He commanded the stage and sang with a great deal of resonance. Tenor Richard Troxell gave strong performances in three roles as a Governor, a ship's Captain and as the Dutch swindler, Vanderendur.

The performances of these singing actors were among the glories of this show. There was no weak link on this stage. Susanne Sheston's choral singers, all of whom are budding soloists, sang together beautifully and danced their hearts out while doing so. Maestro Bicket drew exquisite tones from his orchestra and kept them at a propulsive pace that never let the tension sag.

Set high in the mountains above the "City Different," the Santa Fe theater is a magical place for opera. The overture starts as the sun sets and the night sky is always visible from the sides of the house. For CANDIDE it was partially visible behind the scenery in both acts. Tomorrow night is the revival of Puccini's MADAMA BUTTERFLY and later on we will see Adams' DR. ATOMIC. Both operas may remind operagoers of the relationship between the lights of Los Alamos, NM, and Hiroshima.

Picture by Kristin Hoebermann for Santa Fe Opera