The premise of this opera lured me to think it might have edgy things to say about gender. A small town wants to anoint a May Queen but has issues with the lax morals of the female residents who would otherwise be the candidates for the position, and they decide to select a chaste and virginal male and dub him May King instead.
The tale is based on "Le Rosier de Madame Husson" by Guy de Maupassant, and the opera itself was written in 1947, which is generally not an era from which sharp-edged points on the subject of gender inequities and unduly gendered assumptions tended to emanate, but I was still curious.
I regretfully have to report that the tale tends to bolster and recapitulate traditional views on gender considerably more than it brings them into question. The eponymous Albert Herring [Cory Gross], the beforementioned chaste and virginal fellow, turns out to be an object of pity and condescending scorn from the more sexually experienced people of his age within the village (represented by Sid [Luke MacMillan], the butcher's son and Nancy [Stephanie Feigenbaum], who works at the bakery, who are in the process of flirting and fooling around a bit) and the village's children (in the form of Emmie, Cis, and Harry [Hannah Madeline Goodman, Zoe Marie Hart, and Jen Wu, respectively], who are prone to singing mocking children's songs about Albert within earshot). The doyenne of Loxford, Lady Billows [Marie Masters Webb], admires him, as does her housemaid Florence Pike [Caroline Tye], but they themselves are more than a little bit set up within the opera as targets for our ridicule. Somewhere in the middle are the various village leaders and authorities (Miss Wordsworth, schoolteacher [Rebecca Richardson], Mayor Upfold [Ethan Fran], Vicar Gedge [Glenn Friedman], and Police Superintendent Budd [Jonathan Harris] who do not dare to contradict Lady Billows in any affair but may or may not share her perspective on all things until they learn what her perspective is. They suggest one female candidate after another, for instance, before bowing to her assessment that none of them is suitable.
Basically the upshot of the plot is that Sid and Nancy (no resemblance to any latter-day punk rockers, just a coincidence) decide it would be cute to impinge a bit upon Albert's spotless moral fibre by slipping some rum into his beverage at the acceptance dinner, and once inebriated by it Albert rebels and, fortified by his drunkenness, goes into the town to revel, perchance to fornicate. This frees him from the apron strings of his domineering controlling Freudian mommy, Mrs Herring [Sarah Marvel Bleasdale], whose strict control, rather than any intrinsic moral backbone, is the real reason that Albert is as pure as he is. The experience permanently changes him and empowers him to seek his own course, while offending and dismaying Lady Billows and Mrs. Herring and Florence Pike.
In short, as is so often the case where males exhibiting characteristics more commonly associated with females are depicted at all, Albert is presented to us as pathetic and controlled by emasculating female people, and the remedy is a big dose of coarse crude masculinity to cure him of his feminine maladies.
A prolonged glance at Nancy gives us--if not the play itself--some perspective. If you examine Nancy's own attitudes, behaviors and feelings, especially drawing on the timeframe when she's feeling remorseful about her role in setting up Albert (which, incidentally, consisted entirely of going along with Sid's initiative) and combining that with her behavior when Sid is trying to kiss her while she demurs because "the windows have eyes," you end up with a Nancy who has a whole lot in common with Albert; both of them would be virginal and pure except that Nancy has Sid in her life, and Sid (as Albert himself later observed) gets what he wants by being direct and going after what he wants. Sid pressures Nancy and doesn't readily take "no" for an answer (he gets the kiss he seeks, windows and their eyes be damned). So Nancy is neither blessed nor cursed by the spectre (or mantle) of the chastity for which Albert is being recognized by Lady Billows and taunted and pranked by Sid, Nancy herself, and the children.
The opera isn't actually titled "The Deflowering of Albert Herring," nor is it explicitly stated that he comes home a nonvirgin. This garners points from me, albeit reluctantly, on the basis of accuracy, insofar as I once wanted to loosen up and let nice naughty things happen as they would, and to that end did attend parties and consume intoxicants, only to find that just as behaving more or less like Nancy doesn't result in a Nancy-like fate when you're male, going forth and consuming substances that lower inhibitions doesn't conjure up the people who would take advantage of your uninhibited receptivities. But if the tale doesn't say so, it equivocates and presents an overall message that if Albert is to loosen up and avail himself of less corseted ways of being in the world, sexual favors as well as the gutter of drunkenness will, in some undisclosed fashion, be his. The crown of flowers with which he is coronated is found before he is, trammeled and abandoned during the course of his escapades, leaving the villagers to think he's dead. You can't symbolize defloration much more directly than that.
The show displays Utopia Opera's usual strengths: there's no wasted investment in glitzy state-of-the-art pyrotechnics of the stage (they've been known to use flashlights with colored cellophane for some special effects); what you get instead is an assortment of spectacular voices singing at you from such close range that if you had a bouquet in hand to present to one of the singers, you could throw it from where you sit in the audience and whack the performer in the head. They convey an exuberant delight at what they're doing, along with a somewhat conspiratorial sense of fun, a company of outstanding opera singers who clearly enjoy doing what they're doing. William Remmers, the person who makes all this happen, is a show unto himself, great entertainment as a conductor and master of ceremonies. The pocket-sized orchestra is very impressive; I'd buy solo albums from either last night's french horn or bassoon player.
A true review of the operatic delivery of the Utopia Opera cast is beyond my level of sufficiently educated assessment. They deserve one and I hope someone better situated than I am will provide it. Benjamin Britten's score does not give the performers equal opportunity to show off their vocal acumen, but, having said that, I'll attest to the rafter-bending power exhibited by Marie Masters Webb as Lady Billows, as well as that of Caroline Tye in her role as housemaid Florence Pike, and Hannah Madeleine Goodman gets off some impressive prolonged shouts as the juvenile Emmie.
There's a nine-part complex vocal tableaux late in the piece, in Act III, that's just mind-blowing. Benjamin Britten is one of those composers who don't stay confined to the conventional restrictions of major and minor and augmented seventh and whatnot, while at the same time managing not to sound like pretentious random clashy white noise; his harmonies and entertwined melodies and countermelodies have a history and a destination, a sense of direction and resolution that one's ears can follow and appreciate, but the individual intervals and chords represent significant obstacles. This ensemble performance would challenge any vocal group.
The show has lots of delightful lighter moments that are well-carried by the Utopia team. You don't want to miss the three schoolchildren being tutored on their choral arrangement by Miss Wordsworth during a rehearsal; Florence the maid practically steals the show with a repertoire of small funny deadpan behaviors; and you'll love the mayor as he takes the opportunity, while ostensibly praising Albert at the award ceremony, to remind us all of his own civic accomplishments.
The pacing and delivery overall is spot-on, as is typical of Utopia's offerings. They know how to tell a tale and keep you involved.
Utopia Opera presents Albert Herring, an opera by Benjamin Britten & Eric Crozier, at Ida K. Lang Recital Hall, Hunter College, 695 Park Ave, NY
(the south side of Park Ave between Park and Lex, 4th floor).
Remaining performances April 12th and 13th, 2019.
Tickets and other inquiries: info@utopiaopera.org
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