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Opera review: Attention, Pulitzer board: Minnesota has another contender

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Soprano Brenda Harris and baritone Matthew Worth star in the Minnesota Opera's world premiere production of "The Manchurian Candidate" in St. Paul this week.

There's no doubt that Kevin Puts and Mark Campbell know how to put together a show.

Their first opera, "Silent Night," premiered at the Minnesota Opera in 2011 and won the Pulitzer Prize for music in 2012. Their second, "The Manchurian Candidate," had its world premiere Saturday night, also with the Minnesota company, and don't be surprised if they win again.

It's riveting theater, and one of the most audaciously ambitious works you'll see anywhere this year.

Based on the Cold War-era novel by Richard Condon , later made into two movies, "The Manchurian Candidate" is as relevant in this era of NSA surveillance, media manipulation and fears of Islamic terrorism as it was when Joe McCarthy was riding high. Campbell, who has collaborated with many leading composers over the past decade, has crafted a book and libretto that tells the story in 19 rapid-fire scenes that allow for just enough revelation by key characters to make it a fully realized operatic experience.

Puts takes advantage of the reflective moments to give the two main characters, the brainwashed Korean War soldier Raymond Shaw and his ruthlessly ambitious mother Eleanor, lines of genuine musical power. It's challenging music -- there are no aria-like moments or tunes you'll hum -- but there's enough melodic propulsion and orchestral interest to achieve dramatic liftoff.

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And Puts and Campbell produce one of the most stunning final scenes you'll see in any opera house.

The production opened Saturday at the Ordway Center in St. Paul. Three performances remain, on Thursday, Saturday and Sunday.

If "The Manchurian Candidate" catches on with other companies, as "Silent Night" has, it will be due in part to the fantastic production team here, with stage director Kevin Newbury (who also directed the world premiere of "Doubt" with the Minnesota Opera in 2013) and the company's music director, Michael Christie . Newbury's direction is razor-sharp, leaving virtually no room for aimless gestures or wasted effects. One piece of scenery -- an ominous array of live video monitors and a Big Brother-like observation area -- is the backdrop for a wide range of settings, with a minimum of well-chosen mid-20th century props. The lighting by Japhy Weideman adds to the feeling of agitation and paranoia.

Christie kept the players and singers together through some challenging tempos and rhythms, and he drew nuances and colors from the score that were often more interesting than the vocals. The performance on opening night, in the pit and on stage, seemed virtually flawless, as if it had been in rehearsals for weeks, not days.

The cast is deep and strong, led by baritone Matthew Worth as Sgt. Shaw and Minnesota Opera favorite Brenda Harris as his mother, who aspires to the White House in the worst way. Worth at times seems too robotic as the Communist-programmed "perfect assassin" -- when Shaw isn't playing solitaire, he can have a little more emotion and humanity -- but in the tender moments with his girlfriend Jocelyn ( Angela Mortellaro ), his voice gained richness and authority. Harris, who has sung queens of various sorts at the Ordway, was ideally cast as this wicked would-be First Lady.

Tenor Leonardo Capalbo , who was an excellent if occasionally goofy Nemorino in "L'elisir d'amore" in January, is no bumpkin here; he has the most diverse vocal role in the show and offers a badly needed dose of warmth and humanity, along with mezzo Adriana Zabala as his girlfriend Rosie. Also memorable is bass-baritone Daniel Sumegi as Shaw's stepfather, the vice presidential candidate; if Sumegi hasn't considered a political career with his booming voice and blustering personna, he's missing an opportunity, though things don't end well for his character.

"The Manchurian Candidate" aims much higher than "Silent Night," and it comes awfully close to the mark. Puts and Campbell might want to keep the momentum going and book their next show with the Minnesota Opera in about 2018.

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