Imagine an opera that combines elements that recall the mysterious island from TV’s “Lost,” the upper-class surrealism of “Last Year at Marienbad” and “Exterminating Angel,” and music composed by a former rock ‘n’ roller. That’s exactly what you will discover in Long Beach Opera’s imaginatively enigmatic production of “The Invention of Morel.”
Composed by Stewart Copland (the former drummer of The Police) and co-written and skillfully directed by Jonathan Moore, the opera – which received its West Coast premiere Saturday at the Beverly O’Neill Theater in Long Beach – is a co-production with Chicago Opera Theater. Based on the 1940 novella by Adolfo Bioy Casares, the opera is a fascinating psychological hall of mirrors.
Considered a classic example of Latin American “magical realism” (in the tradition of Jorge Luis Borges), the novella describes the plight of a political fugitive who finds himself cast away on a tropical island. Seemingly alone, he discovers a mysterious building, an abandoned museum, and in its substructure an immense, even more mysterious, machine. Then, as if they had materialized out of thin air from the 1920s, an elegant group of tuxedo-clad gentlemen and willowy flappers appear. One, who bears a striking resemblance to the silent film star, Louise Brooks, instantly becomes the castaway’s obsession. But every time he sees her, she reacts as if he does not exist.
By the time the mystery is resolved, the opera raises questions about mortality versus virtual immortality, love’s ability to bridge the gap of time, and the power of science to turn demonic.
Although the novel is barely 100 pages long, it took Moore and Copland three years to produce their final version, which premiered in March 2017 in Chicago. For Long Beach, the multi-media set design by Alan E. Muraoka with video projections by Adam Flemming and lighting by David Jacques has been reconfigured to fit the thrust stage of the intimate Beverly O’Neill Theater. The stylish 1920s costumes are by Jenny Mannis.
Stuart Copland has come a long way since his first operatic effort, “Holy Blood, Crescent Moon” in 1989. In “The Invention of Morel” he plays to his strength, relying heavily on percussion-driven dance sequences and rhythmic orchestral textures. The string writing is less effective in its harmonies and counterpoint and don’t expect to go out humming any memorable tunes. The vocal writing, however, is very effective and character driven. But the most brilliant device involves the double casting of the castaway.
Baritone Andrew Wilkowske sings the role of the Fugitive shadowed by his lyric tenor counterpart, Lee Gregory as the Narrator. It’s a clever invention that allows the character(s) to comment on the action from multiple perspectives, “The influence of the future on the past.” The dual casting also offers Copland the chance to double the role’s vocal power and dynamics by pairing a tenor and baritone.
Jamie Chamberlin brings a sultry Vogue magazine swagger and sharply defined high notes to her performance as the alluring Faustine — the Louise Brooks lookalike who’s made a pact with the devil, Morel. Nathan Granner (who created the role of the dapper scientist in Chicago) gives a dynamic performance here. Whether he is mad or a genius is debatable.
Spoiler Alert
All becomes clear in the opera’s climactic scene when Morel informs the guests that they are actually “living” ghost images, recorded by his infernal machine and destined to dance their way through the same week until the end of time. The other members of Morel’s ultimate shipwreck party include Cedric Berry, Doug Jones, Suzan Hanson and Danielle Marcelle Bond.
The libretto does an excellent job of distilling, and in some instances expanding the characters and thematic thrust of the novel. But there are times when the words and music are not a perfect fit. Moore’s direction, however, is consistently adroit.
“The Invention of Morel” is a fascinating, intellectually challenging, decidedly worthy addition to the repertory of contemporary operas.
“The Invention of Morel” Long Beach Opera
What: Long Beach Opera: “The Invention of Morel.”
Where: Long Beach Convention Center, Beverly O”Neill Theater, 300 E. Ocean Blvd., Long Beach.
When: 7:30 p.m. March 24 and 2:30 p.m. March 25.
Tickets: $49-$150.
Information: longbeachopera.org or (562) 470-7464.
Running time: 90 minutes. No intermission.
Mature themes.
Rating: 3.5 stars
