The Mission: Loyola - An Unearthed 18th Century Gem

Originally Published 16 October 2006

 

“The Mission:  San Ignacio De Loyola,” a recently discovered early 18th century opera by Dominico Zipoli and two collaborators was performed here in Portland tonight, and I, for one, couldn’t have been more thrilled. I was only informed today of the performance by a friend who’d seen it in Worcester,  last night, by the early music group: Ensemble Abendmusik with stage direction by Rev. Michael A. Zampelli, S.J., of the theatre department at the University of Santa Clara. 

The opera appears to have been a collaborative effort by the Italian Zipoli (a composer turned Jesuit who moved to the famous Jesuit Reductions in Paraguay), the Swiss-born composer Martin Schmid and one or possibly more of the native musicians from the Paraguayan rain forest. Written in two acts, the opera tells of the calling of St. Ignatius Loyola and his founding of the Jesuit order. Interestingly, it also attempts to explain – or at least delves into – the metaphysics of Ignatius’s famous “Exercitia Spiritualia.” You know I was all over that.  

Initially, as it began, I found myself mildly disappointed as the opera was not quite what I expected.  Once my expectations were let go of, I found the entire thing a genuinely lovely and moving experience. 

Two woman in modern dress served as interlocutors coming out from the audience and walking between the posed singers, making commentary on the action and telling of the relevance the tale has to modern audiences. 

Sopranist Randall Wong sang the role of Ignacio beautifully, handling the difficult coloratura in fine form and spinning some lovely, pure-sounding high notes. Initially he started off a bit raspy and underpowered but, as he went, on the performance grew into a moving, convincing portrayal of Ignacio. Mr. Wong moved sparingly, but each gesture was highly stylized and projected a certain nobility to them. His facial expressions were noble and earnest . . . one easily believed his devotion, his desire to serve and his love for his mission.

Romanian Countertenor Andrei Caracoti did double duty as The Second Angel and as the young Francis Xavier. His entrance (as the Angel) in a Spanish Warrior/Roman Centurion costume, accented with an ancient Peruvian style skirt and stockings, was enormously powerful. As petite as Mr. Wong was, Mr. Caracoti is a very tall drink indeed. I wondered if he'd been a GQ model as for the first 20 minutes he didn’t move or vary from his statuesque pose. I'm fairly certain he didn't even blink. 

The first Angel, soprano, Susan Consoli, on the other hand looked cherubic with a smile best described as comforting. 

Where Mr. Wong’s voice has more of a boy soprano timbre, at times very sweet in its purity, Mr. Caracoti has more of a female mezzo-soprano’s weight to his sound . . . and what an absolutely gorgeous sound it is. (The biographical information stated he began his studies in Bucharest as a bass-baritone, and transferred to Boston where his teachers decided to "make him a countertenor."  I've no idea what he might have sounded like as a baritone, and frankly, don't care.  I want to hear more of THIS voice.  

The musical highlight of the first act was referred to as a 3-way, or “triple aria” . . . what today we’d just call a trio . . . between Ignacio and the angels. It was absolutely dazzling, the three singers spinning off separate virtuosic lines, each tossing off runs and roulades with relish matching the joy of the music. 

In Act II Caracoti assumed the role of Francis Xavier and the scenes between Ignacio and Francis (which constitute most of the second act) were powerfully moving as the two best friends whose love for one another is clearly evident, prepared to part forever in order to further their unified cause. Like many baroque operas, the only "real" duet comes at the end, and is between Francis and Ignacio. 

Tenor Murray Kidd was a delightful and handsome little Devil. Dressed as Louis IV (nice touch) in stunning 18th century silk and curly wig and was THIS TALL. His was almost more of a pop sounding voice, yet somehow suited the baroque style well.  It was clear he relished singing the Spanish text which. emanating from his mouth, was highly sensual, as opposed to the pure, almost Latin-sounding Spanish of the other characters.

After the final duet and advice from the Interlocutors inviting us to draw our own conclusions, the First Angel sings a glorious aria with trumpet solo which smacked strongly of Scarlatti. Here, soprano Susan Consoli's bright, light voice matched the music's brilliance and sense of elation, during which all participants the devil included), returned for a final tableaux which strongly suggested how completely interrelated is EVERYTHING in our world is: good to evil, hope to despair and hate to love.

Ensemble Abendmusik was conducted from the harpsichord and organ by James David Christie. A particular delight was the constant playing of the theorbo and baroque guitar, complete with traditional Spanish hand slapping on the instrument. 

Not a bad way to spend an evening!