by Steven Ang

The Elephant Man is a French opera by composer Laurent Petitgerard and librettist Eric Nonn. Premiered in Prague on Febuary of 2002, the title role was specifically composed for the talents of contralto Nathalie Stuzmann. The production was then transferred to the Nice Opera where this video recording took place, Jana Sykorova taking over the role of Joseph Merrick. An audio recording that took place in 1999 is also available on Naxos (cover on the right) and features Stuzmann in the title role.

Composer Laurent Petitgerard was inspired to compose a biographical opera of the Elephant Man. As quoted from the linear notes, “I have always wanted to write an opera with a dual personality at its centre. (Librettist) Eric Nonn suggested the story of the Elephant Man to me. This deals not only with the duality between Merrick's inner self and his physical appearance, but also with a theme new to opera as far as I know, that of exclusion.”

I found that the subject matter is given deep thought, and much care was given to make the central characters well rounded and believable, thus viewing this DVD became a somewhat spiritually engaging experience for me.

Musically speaking this is a modern opera in every sense of the word. Jagged, atonal vocal lines take the place of traditionally harmonious melodies, juxtaposed with accompaniment by swelling and often tonal orchestral arrangements. Sung monologues take the place of traditionally heart-stopping arias and the entire acts are sung through from start to finish. The opera might not have you humming its tunes as you leave the opera house, but enough repetition of its strange melodies in the form of subtle leitmotifs will probably drill its musical sequences into your head. Lets just say that this form of musical language it not really my cup of tea! A big exception is the hauntingly beautiful chorus at the end of Act II; a slow melancholic prayer for mercy on the Elephant Man's inner pain. (above left: Mary and Joseph Merrick)

Thankfully then, a good opera is so much more than simply music. Composer and librettist have chosen a very interesting story to tell, and this production, staffed with excellent singing actors, created a touching story of a man's exclusion and repulsion by society. The unusual melodic lines created a form of heightened speech that adds emotional depth to the characters' dialogues. Lavish and realistic sets and costumes complete the picture of a profound and fulfilling operatic experience.

To summarize the plot, Act I opens in a London street (left) where a circus freak-show run by showman Tom Norman (tenor Robert Breault) is taking place. He is assisted by his young apprentice Jimmy (boy treble Mari Laurila-Lili). Inside the caravan-cum-stage, Joseph Merrick, played by contralto Jana Sykorova, gets ready for performance, which consists of stripping down naked for all to see. Tom Norman psyches-up his star with promises of fame and fortune in America . Dr Treves (baritone Nicolas Rivenq, a self-righteous hospital employee begs Joseph Merrick to check into the hospital with him as he considers the latter to be mortally ill. He also needs him for a study. When begging fails, the doctor arranged to have the showman's possessions confiscated (though I'm not sure how), leaving Joseph Merrick no choice but to follow.

Acts 2 and 3 sees Joseph Merrick being checked into the hospital, his blossoming relationship with nurse Mary (soprano Valerie Condoluci), and the joys and humiliations that he experienced throughout his stay. This is where we learn of the human behind the Elephant Man, a man so lonely that he only feels pity for himself. His only wish, as expressed to Mary, is to be normal, or at least to live in a place where no people can look at him. The remaining act charts the final moments leading to his death.

All the cast members are consistently strong in their performances; consummate singing-actors who hit all the notes and additionally brought forth collectively a believable and committed performance. Stage director Daniel Mesguich must have been really proud of his collective ensemble. As the freak-show showman Tom Norman, Robert Breault literally stole the show in Act 1, playing the consummate performer to his gathering audiences, the manipulator to Joseph Merrick (who does not sing in this act), and the sarcastic defender of his morals to Dr Treves. His rough-and-tumble tenor was perfectly suited for the role as he yelled and snarled his way in his portrayal of an ambitious impresario. As Jimmy, Norman 's young assistant, Mari Laurila-Lili's small treble was at times drowned out by the dense orchestrations, but the young boy holds his own and shows amazing promise for someone so young.

Nicolas Rivenq as Dr Treves portrayed a man firmly rooted in his beliefs, which is to help the supposedly ill Joseph, even as circumstances beyond his control made him compromise on his own morals and eventually created in Joseph a media star bigger than what Tom Norman could dream of. This is a deceptively complex character to play, and Rivenq made an absolutely engaging performance. His lyric baritone is dark and deep, and he manages to inflect meaning into much of the music's expressive nuances.

As staff nurse Mary, Valerie Condoluci plays the romantic interest of Joseph Merrick, the only person who can see beyond his hideous appearance and appreciate him for who he is. Her lyric soprano is strong and creamy. There are no superlative high notes in this role, but she convinces in a strong showcase of a complex character.

The star of the show is of course the actress who plays Joseph Merrick, The Elephant Man and Jana Sykorova's performance was simply brilliant. Firstly, I have to admit that it was a bit disconcerting to watch a woman playing a male role. Even though the concept is not completely new to opera, this is a performance where realism and appearances do matter a lot, and I was constantly reminding myself that the character is in fact a man (there is a reason why Der Rosenkavalier is nicknamed by some ‘The Lesbian Opera'!). Still, the intensity that she put into her role is very strong, and through her performance you can truly feel the solitude and pain that Joseph Merrick is going through. Her role was at times declamatory, sarcastic, and very introspective, which will require the best even from the strongest theatre veteran.

Lastly, what is a European production without a few avant-garde touches? After the realism of the traditional London street sets in Act I, for some reason the sets for the hospital which dominates the rest of the opera bears closer resemblance to the auditorium of an opera house complete with baroque-style boxes! (right) This is perhaps to show that all eyes are still on The Elephant Man, who in fact became an even bigger celebrity in this hospital than his freakshow career through media reports organized by Dr Treves. Joseph's hospital ward is a movable concaved platform which contains a bed so small that it functions more as a stool (see cover picture). While giving Joseph eloquence lessons in Act II, Dr Treves sinks into the top half of a television set cover built on the floor of the ward, where he proceeds to give a comical lesson that looks as though we are watching a video tape on TV (sets are designed by Federic Pineau). And true to French tastes, the nurses' uniforms are so high cut that every woman's thighs are on display (see cover photo also). These are just a few light moments in what is otherwise a serious, thought provoking production; and despite my unfamiliarity with its musical language, I would strongly recommend it to all opera fans. Visual and audio is excellently clear and sound is available in Dolby Digital 2.0 and 5.1. Find out more about this opera on the composer's official website (insert link http://www.petitgirard.com/page-en/joseph.htm ).

 

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