A Coffin in Egypt received its Chicago premiere Saturday night at the Harris Theater, with mezzo-soprano Frederica von Stade in the starring role. The new opera by Ricky Ian Gordon is enlivened by von Stade's rapturously sung and emotionally moving portrayal of a woman struggling to deal with her wealthy husband's infidelity.
This production by Chicago Opera Theater is an emotionally powerful journey through the memories, joys and regrets of Myrtle Bledsoe, grande dame of Egypt, Texas. Von Stade's lovely voice, still rich and full, is capable of conveying a full range of emotion. Hearing von Stade, who is nearing 70, in such good voice should delight her fans--and, incidentally, give other singers hope that it might be possible to reach their golden years with their voices intact.
Most of the events that Myrtle describes in A Coffin in Egypt take place in Texas during the first half of the 20th Century. This particular time and place presents certain choices for a composer: Should the music be based on the styles of the period? Or evoke the American West á la Aaron Copland? Or would a more contemporary idiom be the wiser choice?
Gordon chose to write much of the music in a contemporary idiom that does have "American" overtones, at times reminiscent of the lushly attractive music in Samuel Barber's "Knoxville, Summer 1915." An exception is the more structured music Gordon wrote for a gospel quartet that appears at crucial moments in the story.
Most of Myrtle's music sounds more freeform and meandering, in a style appropriate to her rambling reminiscences. This style is effective in places (such as the soaring "open prairie" music), but otherwise starts to sound repetitive and without sufficient focus.
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