Portland Opera makes big splash with fanciful "Rusalka"

Karen Vuong in the title role of Portland Opera's 2023 production of Rusalka. Photo by Christine Dong.

Portland Opera left no boulder unturned in its straightforward presentation of “Rusalka.” Its evocative performance (April 28) at Keller Auditorium brilliantly conveyed the cautionary fairy tale with colorful projections, dynamic orchestral music, and the stellar singing of Karen Vuong in the title role. The production marked the first time in the company’s 59-year history to produce Antonín Dvořák’s greatest opera.

Based on a Slavic folk story with a libretto by the Jaroslav Kvapil, “Rusalka” tells of a water nymph (or mermaid-like creature), who lives in the forest. But she falls in love with a prince who, while hunting, chances by the place where Rusalka lives. She instantly falls in love with him and pleads with her father, the Water Gnome, to become human. He warns her of such desires and storms off. Rusalka then goes to the witch, Ježibaba, who gives her the potion, but it comes with stipulations: if Rusalka does not find love with the prince, he will die and she will be eternally damned. Rusalka willing drinks the potion anyway. But things do not go well for her after this moment.

Directed by Eric Simonson, the production – with scenery, projections, and costumes from Minnesota Opera – clearly contrasted the vibrant, fun-filled, and idyllic life of water creatures in the woodlands with the sterile, hard-edged life, and inebriated world of the aristocrats at the ball. Kärin Kopischke’s fanciful clothing for the water nymphs added to the zest of the forest. Everything was expertly lit by Robert Wierzel.

The opera opened with a knockout scene, featuring flat rocky surfaces split by a deep stream and projections of watery depths. Wendall Harrington’s projected imagery seamlessly changed to lush forest and a lakeside with an enchanting moon that graced the famous “Song to the Moon” aria.

Karen Vuong totally embodied the title role. Her voice filled the hall with an undercurrent of emotion – whether it was elation, longing, or despair – that was absolutely mesmerizing. Her pleading with her father and the witch to become human had a conviction and genuine urgency that was palpable. When she appeared in the last act with bloodshot eyes and a ghostly white face, it was pure tragedy.

Ben Gulley as the Prince. Photo by Christine Dong.

Ben Gulley came across as a bit stilted in the role of The Prince, and his passionate tenor needed just a little more volume. But he did save his best moments for the last act, when he revealed some thrilling high notes with high octane gusto.

Karen Vuong in the title role and Jill Grove as Ježibaba. Photo by Christine Dong.

Mezzo Jill Grove’s superb Ježibaba with an incredibly well-timed array of smirks, side glances, grins, shrugs, and eye-rolls that enhanced her rich, declamatory singing, even while smoking a pipe. She magically made the witch sort of enchanting and repulsive at the same time.

Karen Vuong as Rusalka and Andrew Potter as Vodnik. Photo by Christine Dong.

Andrew Potter expressed the role of Vodnik, the Water Gnome, with a gentle stateliness, except for his protesting against humans, who he forewarned were treacherous beings. Because of his exceptionally tall height. he could have stood in the chasm between the boulders and embraced Rusalka and still be taller than her.

 

Othalie Graham as the Foreign Princess. Photo by Christine Dong

Othalie Graham as the Foreign Princess augmented an imperious demeanor with a stentorian, steely soprano that shattered the bonds between The Prince and Rusalka.

Jasmine Johnson, Maddy Ross, and Rachel Hauge as the Wood Sprites. Photo by Christine Dong.

 The trio of Wood-Sprites (Madeline Ross, Rachel Hauge, and Jasmine Johnson) exhibited an infectious camaraderie that easily won over the audience. They gleefully teased the old Water Gnome, playfully chased each other about, and preened with unself-conscious admiration.

Choreography by Shaun Keylock allowed the dancers lots of expressive freedom as water-nymph sisters. They became stuffy, stuck-up party goers who could only cut loose after consuming lots of alcohol during the dance scene in Act II.

The orchestra, under German conductor Elias Grandy, exuded a terrific dynamic range from the quietest passages to super-charged Wagnerian fortes. Yet, throughout the opera, the orchestral sound never overwhelmed the singers.

If you would like to hear Vuong again, she will be singing in Seattle Opera’s production of “Bound,” starting on June 9th.

For anyone who has waited for a long time to experience Rusalka in Portland, consider the fact that Portland Opera actually beat La Scala, which is presenting “Rusalka” for the very first time in June. Who would’ve guessed that!

Rachel Hauge, Jasmine Johnson, and Maddy Ross as the Wood Sprites i. Photo by Christine Dong.