Rehearsal photo from Thaïs. Photo courtesy of Maryland Lyric Opera.
Maryland Lyric Opera will perform composer Jules Massenet’s Thaïs on January 30 and February 1. Thaïs is not in the top ten operas performed every year, nor even in the top fifty. The last U.S. productions were by Metropolitan Opera in 2017 and Minneapolis Opera in 2018. When a young, small opera company places a fully-staged production of Thaïs in their new season, one wonders why they are willing to take a chance on an opera that so few fans will be familiar with. I am impressed with the quality of MDLO productions I have attended; last season’s concert performance of Puccini’s La Fanciulla del West was one of the highlights of the opera season for me. After recently viewing a Met Opera video of Thaïs as an experiment in supertitle-free viewing, I felt that this story of obsession/transformation of a Christian ascetic and an alluring courtesan in Alexandria, Egypt under the rule of the Roman Empire is an under-appreciated opera for both the story and the music, but I wanted to look more deeply into the reasons behind MDLO’s choice and what the performers found compelling.
Performers and staff involved in an opera put their hearts and souls into its production. More often than not, it is more than just a job. Choices are made about whether to audition and whether to appear in a particular production. Sought after performers choose their roles carefully to fit their abilities and their desires to play specific roles. These thoughts led me to wonder why the performers and staff in Maryland Lyric Opera’s production of Thaïs chose to commit their time and artistry to this particular opera. So, I asked, and with the assistance of General Manager Matthew Woorman, I collected these responses to the following question:
Why did you decide to make Thaïs part of your life?
“When we were discussing which opera to produce in January 2020 we came up with a number of ideas. Thaïs became the clear consensus. Given that this opera is so rarely performed, I am more than thrilled to have given the green light to this one for a number of reasons. The music is a hidden gem, both in the vocal and orchestral writing. Not only is it one of Massenet’s greatest works, it sits atop many in the French opera literature. It is one of the operas that has the two main roles for soprano and baritone and therefore some very moving duets which showcase the dramatic baritone role in contrast to the both seductive and vulnerable soprano. Its timely subject matter which deals with a person pledging his life to celibacy and his inherent struggle with his basic human needs in front of a very human Thaïs who struggles to find her way to the truth of her spiritual life. The inclusion of the full ballet that Massanet wrote (but rarely performed) that adds tremendously to this already gorgeous musical score. As a pianist, I have performed the well known "Meditation" from Thaïs countless times in various arrangements. I am grateful that we are able to bring this piece to the public in full context. - Brad Clark, Founder and President, Maryland Lyric Opera.
“I love singing Thaïs! It’s a beautiful story of transformation for both of the main characters, as well as some of the most beautiful music I’ve had the pleasure to sing. It’s truly one of my favorite roles.” - Soprano Sarah Joy Miller who will play Thaïs.
“When Lou Salemno called me last summer and asked whether I'd be interested in doing 'Thaïs', it only took a moment to decide that, "Yes, I'd like another shot at this extraordinary role." I sang it first in Rome 15 years ago and then covered it at the Met a few years after. And the fact that it would be Maestro Salemno in the pit was also a motivating factor along with the young lady who is singing the title role, Sarah Joy Miller. After 40+ years in this profession, I have chosen to do only projects that interest me with the right people. The role of 'Athanael' is a complex role, both dramatically and musically. I am attracted to characters who go through changes in their story, and Athanael certainly goes on a journey in the course of the opera. And, as a man of faith myself, I can relate to Athanael's crisis of faith. We all need to be tested in what we believe and he certainly is-- he leaves his comfortable life in Alexandria because he feels the emptiness of the pleasures of the flesh-- but his reaction of going in completely the opposite direction also turns up rather empty in the end. Thaïs makes the good choice though she dies because of the harshness of her penance. It's a misunderstanding of the grace that God provides for us. So, though it came rather 'out of the blue', I was happy to make Thaïs a part of my life at this point in time because it's a great role, a great character with a story to tell and the right people involved to make it truly worthwhile.” - Baritone Louis Otey who will play Athanael.
“I chose to make this opera a part of my life in terms of becoming familiar with it in my Masters degree. After I heard a recording of George London singing “Voilà donc la terrible cité”, I decided to look over the score and listen to a few recordings. I thought the work was so beautiful musically, and a very interesting story. I was very happy to be offered the opportunity to be a part of it.” – Baritone Hunter Enoch who plays Palémon.
“This is an interesting way to think about my involvement with Thaïs. I’ve always worked in both opera and straight theatre and look for pieces that are challenging for me and worth the effort, because they are rich both musically and/or dramatically. I love Massenet; he is a fabulous melodist, has great dramatic instincts - and tells great stories. So, I was intrigued to do one of his operas that I’d never done and is rarely done. What initially drew me to be a part of this production were the roles of Athanaël and Thaïs. What could be a simplistic story gains richness through Massenet’s ability to bring color, nuance and unexpected choices to these characters. I really was moved by their emotional journeys. Added to that, the opportunity to build this exotic, semi-historical world was exciting for the designers and me. And I was looking forward to the chance to work with Louis Salemno again. I have always greatly admired his innate musicality and understanding of the musical drama that is opera. He brings more passion to the work than most conductors I’ve worked with!" - Claudia Zahn, Stage Director
“Like anything in the arts, there are several parts to this answer that are interlocking. I enjoy working with the director, Claudia Zahn, and we have worked together many times. We share a similar appreciation for all that opera is and can be. Then there is the piece, Thais. Massenet writes such beautifully atmospheric music, full of color and emotion, that it is a designer's dream: it cries out to be visually realized and has been personally rewarding to work on. The contrast between the simple severity of early Christian hermetic life and the growing decadence of Rome sets up a visual dynamic that is exciting. Finally, having seen an MDLO concert presentation last spring, I was impressed by the quality of the performances, singers and instrumentalists, as well as the musical accomplishment the maestro brought to the concert. The opportunity to work on a project that promises to be satisfying is a great draw." - Harry Feiner, Scenery and Lighting Designer for Thaïs
Why does this blogger want to make seeing Thaïs part of his life? I want to hear the music again, especially played live by Maestro Salemno and the excellent MDLO orchestra. MDLO will include the ballet scene in their version. Also, Thaïs is a showpiece opera for a gifted soprano. I can’t wait to hear Sarah Joy Miller in the role. When she appeared in Romeo et Juliette in Baltimore in 2016, the Baltimore Sun’s critic Tim Smith said that she was a special talent who made every phrase sound beautiful, and he hoped she would be back in town soon. Well Baltimore, College Park is not that far away. I want to see what MDLO has done in terms of set and costumes in this new production. There is a challenge to telling this story. One reference I read claimed that the definitive Thaïs is yet to be produced. Might MDLO’s be the one?
Addendum 1/29/2020: For a young artist response, tenor Joseph Michael Brent, who plays Nicias, see my next blog post.
The Fan Experience: The MDLO performances of Thaïs will take place in the Kay Theatre in the Smith Performing Arts Center on the campus of the University of Maryland, College Park at 7:30 pm on Thursday, January 30 and at 2:30 pm on Saturday, February 1; tickets range from $25 to $50. (Helpful Hint purchasing tickets online - When you click on the “Buy Tickets” link, first choose the month, January for the January 30 performance or February for the February 1 performance.) Thanks to a donation-funded student initiative “Hello, Opera!”, student tickets are available in all sections for just $10.
There is free parking near the theater after 4 pm on weekdays and all day on weekends in lots 1B and Z; there is a University of Maryland Basketball game at 8:30 pm on January 30, so getting there early for the 7:30 performance of the opera that day is recommended. The small size and excellent acoustics in the Kay Theatre make it an excellent venue for attending opera.