I just got back from Toronto, where I attended the premier of the new Rufus Wainwright opera, “Hadrian.” Production was stunning, with some beautiful stage pictures. Singing was wonderful, and the acting quite good. And the book told a fascinating story, with an intriguing denouement. The packed house sat rapt the entire three hours, with one intermission.
But, good people, don’t go for the music. Almost total dissonance, with only rare moments barely approaching melody. I could understand a Hadrian grieving for his dead lover, surrounded by dissonant sounds, but, during their scenes together, I really wanted some kind of soaring arias, which could have taken this score into the stratosphere. Unfortunately, t’was not to be.
Performances and voices were all around admirable, with Thomas Hampson as Hadrian, Isaiah Bell as his lover Antinous, and Ambur Braid as Hadrian’s wife Sabina, all standing out.
There were sublime moments in this production. Even the music began to grow on me. The standing ovation it received was well-earned. If Wainwright could just tweak the score, and maybe tighten a simulated sex scene at the, you’ll pardon the expression, top of Act II, this could be quite great. But, even with flaws, I’m very glad I saw it.
(BTW: I happened to meet a man who said he was a friend of librettist Daniel MacIvor, who related he and Wainwright had a terrible time working on this, as Wainwright is a peevish, self-centered, demanding diva, expecting everyone to do as he says. Even the New York Times review related how badly the two got along, actually needing counseling. I’m amazed they were able to get anything done.)
