The Lowe Down: ‘Truman & Nancy’: Premiere heralds new statewide opera

https://www.rutlandherald.com/rutland_reader/the-lowe-down-truman-nancy-premiere-heralds-new-statewide-opera/article_86555e76-a81f-11ef-9a71-bfd348b886e3.html

‘In Cold Blood,” Truman Capote’s 1966 non-fiction novel about the grisly murders of four members of the Clutter family in rural Kansas, and subsequent 1967 film, made Capote a star. The saga continued on Nov. 15 when Opera Vermont premiered a deeply touching performance of William Zeffiro’s riveting opera, “Truman & Nancy,” at the Barn Opera House in Brandon.

The production also marked the second in the inaugural season of Opera Vermont — formerly Barn Opera — following its September Puccini Celebration Gala at the Barn. It continues with productions at Greensboro’s Highland Center for the Arts, the Barre Opera House, again at the Barn Opera House, and Randolph’s Chandler Center for the Arts. The season goes a long way towards Opera Vermont’s stated goal of becoming the state’s opera company.

While there is a homespun quality to Opera Vermont productions, they have consistently been well-sung and convincingly produced — especially so “Truman & Nancy” because of its delicate intimacy.

Zeffiro, who also wrote the libretto, based his hour-long opera on Ande Parks’ graphic novel, “Capote in Kansas.” It imagines Capote being confronted by the ghost of 16-year-old Nancy Clutter who, along with her younger brother and parents, was murdered in their rural Kansas home on that fateful night.

At the opening night performance, soprano Kathleen Echols presented a stellar performance as Nancy, gorgeously delivering Zeffiro’s soaring vocal lines as well as a delicate tenderness when called for. Echols is a rich-voiced lyric soprano, yet she modified it effectively to reflect the innocence of youth. She was Nancy.

Italianate lyric tenor Joshua Collier, Opera Vermont’s artistic director, was a sensitive and deeply distressed Capote. Collier’s beautiful vocal expressiveness underscored Capote’s misgivings as well as his need for fame. The performance, reflecting Capote’s concern for Nancy, was deeply heart-wrenching.

Zeffiro’s attractive score combined his very lyrical and largely consonant vocal lines with an orchestral atmosphere that reflected the emotions, the situation and the action. While decidedly modern, using spicy harmonies and rhythms, the overall effect was rich and attractive. If a comparison has to be made, it was not unlike the music of Leonard Bernstein.

Cailin Marcel Manson, Opera Vermont’s music director, led a fine professional ensemble comprised of string quartet, flute, clarinet, horn, percussion and piano. Manson’s direction was sensitive to the singers and the score, rounding out a particularly fine performance.

Preceding the actual performance Friday (repeated Saturday) were two discussions. First was with Brenda Currin, the actress who played Nancy in the 1967 film “In Cold Blood.” She reflected on the powerful experiences of performing the tragic role and meeting Capote. Parks discussed his process of creating “Capote in Kansas,” including the technical details of making a graphic novel. (He mentioned as one of his influences Frank Miller, creator of the film “Sin City” and the comic book character “Daredevil,” and a native of Montpelier.)

If Opera Vermont’s production of “Truman & Nancy” is any indication, the state should welcome its new statewide status “with open arms.” Opera is the most difficult art form to produce, adding singers and orchestra to all the challenges of theater. It is also the most expensive — for obvious reasons.

Opera Vermont has created a challenge for itself — and for the state — with its inaugural season. It continues a Barn Opera tradition with “Amahl and the Night Visitors,” Dec. 13 at the Salisbury Congregational Church and Dec. 14 at the Williston Federated Church. Last year’s was quite good — despite barebones staging — so this year’s likely will be, too.

Feb. 21 and 22, Opera Vermont will present Collier’s own version of Leoncavallo’s “Pagliacci,” adding music from Mascagni’s “Cavalleria Rusticana” (the opera often paired with the one-act “Pagliacci”), at Greensboro’s Highland Center for the Arts. Throw in a professional circus troupe, and you’ve got a unique evening.

Opera returns to the Barre Opera House for the first time in more than a decade when Opera Vermont presents “La Traviata,” Verdi’s beloved masterpiece of doomed love, filled with memorable tunes and arias, May 23 and 24. (The company seeks local singers to join the chorus; if interested, email Collier at collier@operavermont.com.)

In June and July, Opera Vermont spends three weeks on the Adriatic coast of sunny Italy in the beautiful town of Cesenatico. Opera al Mare 2025 is the company’s workshop for young up-and-coming opera singers — and it’s open to auditors.

In September, Opera Vermont returns to the Barn Opera House with two operas I doubt you’ve ever heard, or even heard of. Guglielmo Zuelli’s 1884 “La fata del Nord” and, also premiered in 1884, Giacomo Puccini’s “Le villi,” both first operas by the respective composers, will be performed Sept. 19 and 20.

Finally, Vermont Opera will mount African American composer William Grant Still’s opera “A Bayou Legend” Nov. 14 and 15 at Randolph’s Chandler Center for the Art. Although composed in 1941, it wasn’t premiered until 1974 by Opera/South in Jackson, Mississippi. Still is one of America’s best composers, so finally hearing and seeing this haunting opera should be a thrill.

Vermont Opera has certainly set out an ambitious future for itself. If its history — building its own opera house from a barn in Brandon, taking professional opera to various locations — is any indication, it is already becoming the state’s opera company.

Jim Lowe is music and theater critic and arts editor of The Barre-Montpelier Times Argus and Rutland Herald and can be reached at jim.lowe@rutlandherald.com or jim.lowe@timesargus.com.