Displaying items by tag: The Queen of Spades

Some reviews are as easy to write as 1, 2, 3; an intro, a body, and a conclusion. Some reviews are more difficult to write, even when following that simple formula. Even time is broken into three parts: past, present, and future. Well, I cannot go into the past to change watching The Queen of Spades, now playing at the Lyrics Opera, and I cannot predict I won’t read the Russian novel the opera is based on sometime in the future. But presently, I find three large issues with this opera that prevent me from simply writing a review.

The Queen of Spades is a story of obsession and deceit, following Gherman (Brandon Javanovich) an officer obsessed with gambling who also fancies a young noblewoman Lisa (Sondra Radvanovsky) who is engaged to another. As luck would have it, Lisa’s grandmother, the countess (Jane Henschel) could hold the secret to Gherman winning the girl and a fortune as the countess holds the secret to 3 winning cards that won her fortune. The countess has already revealed the secret of the cards to two people, and if she tells one more person she will die. Gherman manipulates and uses Lisa to get close to the countess and learn the secret of the 3 cards. These three characters' lives are intertwined and obsession eventually leads to everyone’s demise. 

The sheer talent that goes into an opera is astounding. The stage, the orchestra, and most importantly, the singers. It’s such a rare and exceptional gift to sing such powerful lyrics in this way, and Javanovich and Radvanovsky were no different. The audience frequently ooed and awed at their musical prowess. But their acting fell short, and it was difficult to decipher what the characters were feeling through the body language, staging, and acting portrayed. In one scene, it was unclear if Lisa  was fighting her feelings of love for Gherman, or if she was fearful that he would take her virtue. In another scene, it was impossible to understand if someone was paralyzed with fear or simply forgot their lines. The story is intricate but it’s not complex, so it might have been that the opera singers are simply not triple threats in singing, acting, and dancing, but just uniquely talented singers.

Russian is a difficult language. It’s difficult to learn, to speak, and even more difficult to sing in if not a native speaker. Chicago is home to a large Russian population, a population that represented a large portion of The Queen of Spade’s audience. Throughout the opera, Russian speakers could be heard exclaiming, “that’s not what they said,” as the English translation of the Russian lyrics displayed across the prompters for the audience to read. One Russian couple behind me was frustrated with the translation and wanted a Russian or cyrillic counterpart. At times, there was no translation at all. Multiple lines belted out in Russian only for no translation to appear on the prompters, no doubt adding to the confusion around what the audience was hearing and what they were seeing. Did we miss a character’s motivation? Wait, why is she crying? The Russian couple did not return for the second act and the remainder of the play, and intermissions were time for native Russian speakers to remark about how bad the accents and pronunciation were. I have sympathy for the opera singers as the language is not easy to learn and native speakers are not very forgiving to those who do not speak, or sing, the language well. 

The third and final issue of The Queen of Spades is that the opera is very long. The Queen of Spades novella can be read within an hour, so the opera lasting over 3 hours is difficult to sit through. Tchaikovsky as a composer composed a beautiful opera, but it convolutes the story and is challenging to follow. There isn’t a gut wrenching climax or surprise twist, and (spoiler alert) there isn’t much surprise when the three main players die. The opera is just left wanting. Perhaps it was merely this interpretation and production of The Queen of Spades, or perhaps it was a combination of acting, storyline, and translations. Afterall, a good story needs three elements: character, setting, and plot. If one element is lacking, the others won’t be able to support it. All three are needed to put on an exceptional play.

In Russian, the number 3 is “troika” which means “satisfactory.” Unfortunately, even with so much illusion and elements of 3, this play did not satisfy the opera scene in Chicago.

Remaining performance dates for The Queen of Spades are February 23, and 26 and March 1 at the Lyric Opera House, 20 N Wacker Dr., Chicago. For tickets and information visit lyricopera.org/spades. The Queen of Spades is performed in Russian with projected English translations. Estimated running time is 3 hours 45 minutes, including two intermissions.