The Washington National Opera has produced Jules Massenet’s great late romantic opera “Werther” only four times in its 56-year history. But even if you have previously seen a WNO “Werther,” you haven’t seen one like the extraordinary production currently running at the Kennedy Center.
Directed by Chris Alexander, this “Werther” is set in a nameless city and country. All that is revealed about the setting is done so through clothing and hairstyles. Montreal fashion house Barila created Jazz Age dresses and cloche hats for the women, and tailored, belted suits for the men.
The original story of the opera came from Goethe’s novel “The Sorrows of Young Werther,” in which a sensitive young man, Werther, falls desperately in love with a young woman, Charlotte, who is already engaged to another, Albert. Disconsolate at not being able to have Charlotte, Werther decides to commit suicide.
| Onstage |
| ‘Werther’ |
| Where: Kennedy Center, 2700 F St. |
| When: 7:30 p.m. Tuesday and Friday, 2 p.m. Sunday |
| Info: $25 to $300; 202-467-4600; kennedy-center.org |
Both through his libretto and through his lyrical, soaring music, Massenet created a masterpiece that was quite different from Goethe’s original, an opera in which Werther dies happily in Charlotte’s arms.
The opera begins by introducing Werther (Francesco Meli), as he arrives at the home of Charlotte (Sonia Ganassi). He escorts her to a ball because her fiance (Andrew Foster-Williams) is away. Werther falls in love at first sight, and once they return from the ball, he and Charlotte are entranced with one another.
Meli and Ganassi are beautifully balanced in every duet, every scene. Meli’s liquid tenor turns his arias into lyric hymns to nature and love. His imposing presence and impressive voice make his Werther a thoroughly credible, sympathetic character. Ganassi subtly makes Charlotte’s emotion toward Werther grow from mild attraction to intense love.
Emily Albrink is strong as Sophie, Charlotte’s sister, who tries desperately to catch Werther’s eye. Foster-Williams brings vocal authority to the role of Charlotte’s insensitive, egocentric husband. A stellar group of principals rounds out the cast. Charlotte’s many siblings appear in several scenes, all of them well-organized by Children’s Chorus Master Michelle Kunz.
The Washington National Opera Orchestra, led by Emmanuel Villaume, does more than justice to Massenet’s majestic music. There is always concern that “Werther” may seem simply sentimental rather than legitimately full of sentiment. It is impossible to see this production that way.
