Exciting return for N.Y.C. Opera and 'Esther'

By David A. Rosenberg

Hour Theater Critic


As the orchestra tuned up before the start of New York City Opera's production of "Esther" at the newly renovated Koch Theater, my companion turned to me and said, "I hope that's not what the opera will sound like." His trepidation was understandable since Hugo Weisgall's work (first seen in 1993, sung in English with English supertitles) is based on the 12-tone scale. But he needn't have feared, for "Esther" may not have Puccini-like melodies, yet it is a powerful, unforgettable masterpiece.

Its harmonies support a tale with biblical origins and contemporary relevance. The score is atonal but, paradoxically, instead of being harsh is lyrical, romantic and, when needed, vigorously dramatic.

Our heroine, Esther, is one of many Jews captured in Jerusalem and brought to the court of King Xerxes in ancient Persia. Informed by her uncle Mordecai that she is to join the king's harem, she protests her loss of innocence.

The king, meanwhile, has imprisoned his queen, Vashti, for refusing to do all his bidding. Crying "I refused to be his clown," Vashti seeks revenge by plotting to have Xerxes poisoned. The king is also beset by his prime minister, and his wife, Haman and Zeresh. Seeking power, they plan to advance their sons by forcing Xerxes to exterminate the land's Jews.

Mordecai pleads with Esther, who has, by now, found favor with Xerxes, to ask him to intercede. ("We are responsible, each for the other," says Mordecai.) It's too late to rescind the extermination decree, since, once signed, it's irrevocable. It's not too late to allow the Jews to arm and defend themselves, however, which they do and which is celebrated every year at the Purim holiday.

The ending is triumphant, replete with echoes of the Holocaust and its aftermath. "No one should forget," sings the chorus of Jewish survivors. "It must not be forgotten. It must not be repeated." Esther, by acknowledging her background ("I can't escape who I am, or what I am") has saved not only her fellow Jews but herself.

Aided by the theater's acoustical refurbishing, as devised by the Norwalk firm of JaffeHolden, the sound is clear and bright. Under the baton of George Manahan, the orchestra plays at full throttle, yet supports the singers, never overwhelming them.

As Esther, Lauren Flanigan sings with passion, easily maneuvering through the role's mood swings. Her acting is equally potent. Although far from the age of 17 called for, she delineates a convincing arc from vulnerable girlhood to assured maturity ("A year ago I was young"). When young and playful, her body relaxes; when she admits she's a Jew, she stiffens with resolve.

All the singing is strong and brings out the layers in Charles Kondek's libretto: Stephen Kechulius' Xerxes, Beth Clayton's Vashti, Margaret Thompson's Zeresh, Gerald Thompson as the eunuch Hegai, keeper of the Harem, and booming Roy Cornelius Smith as the oily Haman. The chorus is magnificent.

Christopher Mattaliano's fluid direction sweeps the audience from climax to climax. Certainly a good deal of the evening's success is owed to Jerome Sirlin's set design and his use of the projections that fuse the opera's three dozen scenes into a seamless whole.

"Esther" is not for those who will take nothing less than a familiar aria, nor is it strictly for avant-gardists. Rather, in story and music, its appeal is to those who appreciate the sheer theatricality of an exciting tale, lush music and superb singing. (If you go, don't miss the site-specific installation of costumes on the first ring level.)


"Esther" is at the David H. Koch Theater, Lincoln Center, N.Y., Nov. 13, 17 and 19 at 8:00 p.m., and Nov. 15 at 10 p.m. Call (212) 721-6500 or visit www.nycopera.com