Review: Bernstein’s “A Quiet Place” @ Tanglewood, 8/9/18

Bernstein’s rarely heard “A Quiet Place,” still troubled but poignant

By Joseph Dalton

LENOX, MASS. — As an antidote to all the productions of “West Side Story,” and “Candide” that are sprinkled across the land during this summer of the Bernstein centennial, Tanglewood presented “A Quiet Place,” the composer’s final theatrical work. The semi-staged performance at Ozawa Hall on Thursday night showcased the piece as a convincing dramatic vehicle on its own terms, even without the more likeable “Trouble in Tahiti,” its original companion piece.

Led by conductor Stefan Asbury, this “Quiet Place” is a new version completed a few years ago by Garth Edwin Sunderland, who considerably reduced the orchestration, trimmed certain sections and reinstated some music previously excised.

The story remains grim, or rather the backstory does. After the sudden death of the mother, a family with two adult children reunites and tries to piece back together an intimacy that probably never really existed. Along the way, there are troubling suggestions of alcoholism, incest and suicide.

Director Peter Kazaras had half the stage to work with, since the 30-piece orchestra was positioned on stage left. Video projections by Adam Larsen gave a sense of place for each of the three acts — a funeral parlor, the family home, and a backyard garden.

Bernstein’s score is more dark and nuanced than his popular reputation would suggest. The trademark blend of jazz/pop and classical is still present, beautifully displayed in several poignant orchestral interludes, ably performed by the Tanglewood Music Center Orchestra. There were numerous large and small melodic and lyric references to “Trouble in Tahiti” and at least one quote from “Candide” (“What a day, what a day…”).

The principal cast was quite fine, though their tasks were not easy. Stephen Wadsworth’s libretto is mostly fragmented, uncompleted sentences, as the characters struggle to understand and convey their lot.

Baritone Dominik Belavy as Junior, the most deranged of the bunch, was by turns willowy, boyish, flinty and frightening. Soprano Elaine Daiber, playing Dede, was more centered, her singing optimistic and wide ranging but cohesive. As her husband, tenor Daniel McGrew was a steadying and reliable force. The cushy voiced baritone Ryne Cherry was too easy going for the raging father.

Sunderland’s reworking of the piece tightened up the crowded and convoluted funeral scene. But he overburdened the usually successful finale by restoring too many ariettas. Nevertheless, Junior and Dede’s childhood clapping game still worked, adding a touching hint of solace to a shattered world.

 

Joseph Dalton is a freelance writer based in Troy.

***

Opera review

Bernstein’s “A Quiet Place”
Stefan Asbury, conductor

When: 8 p.m. Thursday
Where: Ozawa Hall, Tanglewood, Lenox, Mass.
Length: One hour, 40 minutes; one intermission

Photo:  Hilary Scott.

Joseph Dalton