Sarasota Opera rediscovers beauty of rarely seen ‘Tiefland’

With Saturday night’s opening of Eugen d’Albert’s most popular opera, “Tiefland,” the Sarasota Opera unveiled a rarely seen work of human drama with sordid details, menace, loathing and the redemption of true love all supported by a musical score of arresting beauty and a cast of strong voice actors. 

The opera is not well known in the United States. Sarasota Opera is presenting only the third production of “Tiefland” since its U.S. premiere by the Metropolitan Opera in 1908-09. European appreciation never did take hold here. Thanks to Artistic Director Victor DeRenzi’s commitment to reviving nearly lost operas, we have another opportunity for all to enjoy this treasure. 

The heart of “Tiefland” lies in the music, which understandably feels like a fresh wind as d’Albert uses his orchestra well with a nod to Wagnerian heroics bent to the psycho-drama of Italian verismo. 

We first meet the guileless shepherd Pedro (tenor Ben Gulley) in the craggy Catalan highlands with his friend Nando (Andrew Surrena). When a rich landowner Sebastiano (Aleksey Bogdanov) arrives accompanied by Marta (Kara Shay Thomson) and the town elder Tomaso (Branch Fields), the crux of the action is revealed. Poor Marta is to be given in marriage to Pedro as a cover for Sebastiano, who wants to keep Marta as his mistress while he marries a wealthy woman. 

The Prologue in the mountains under stars with a simple, yet eye-catching scenic design and lighting is in contrast to the bare, functional interior of the town mill setting for Acts I and II. Happily, d’Albert provides even more engaging music as an entr’acte during what seemed to be an arduous set change on this opening night. 

As Act I opens we meet the longtime mill servant Morrucio (Alexander Charles Boyd), a taciturn fellow, and three gossipy village girls, Pepa, Antonia, and Rosalia (Aura Veruni, Annie Chester, and Laura Michole Tillotson). Their ensemble work is exceptional and provides comic relief. As Marta’s innocent younger friend, Nuri, Hanna Brammer and her standout voice conveys a sweet earnestness.  

Bogdanov’s Sebastiano is a distinctly unlikeable character with a sadistic ruthlessness to him evident at various points in his manipulation of Marta. His voice carries brute strength and nary a soft edge, even when speaking of love. We can’t believe there is a loving bone in his body. 

Gulley’ Pedro, on the other hand, is all teddy-bear love — boyish and willing to believe the best. Until, at the end, he takes Sebastiano hands-on for a brutal snap of the neck. Gulley portrayed that love through his voice, which strained as well under the weight of aggression. But we all loved the pure-hearted, loyal Pedro willing to risk his life to kill the wolf.  

This fight scene confrontations between Sebastiano and Marta would have benefited from more swift action and panic and the near-rape scene in slow motion was not so believable. 

Marta is a challenging role for a strong soprano such as Thomson. While it seemed that she was reaching for fear and vulnerability, she struggled to project the self-loathing, cowering woman that Marta is as a victim of sexual abuse from her childhood. In light of our own time it was uncomfortable to hear her beg for more abuse and even her own murder. Yet beg she does and when she declares her love to Pedro and confronts Sebastiano Thomson is at her best. 

The play and libretto are of their time. We are called on to suspend belief and common sense during an overly drawn-out ending. Mounting tension teetered on the edge of tedium, but was pulled back by the merits of the music and three strong characters. 

A nod of appreciation goes to stage director Michael Unger and scenic, costume, and lighting designers Steven Kemp, Howard Tsvi Kaplan and Ken Yunker. 

The supreme beauty of this opera is found in a score brought to life by an excellent orchestra under conductor David Neely. Bravi tutti!

‘Tiefland’

By Eugen d’Albert. David Neely, conductor; Michael Unger, stage director. Reviewed March 10, Sarasota Opera House, 61 N. Pineapple Ave., Sarasota. Through March 25. Tickets start at $19. 941-328-1300;  sarasotaopera.org