If you don't know Laurel Irene, learn the name. The soprano soars in Long Beach Opera's 'Voices From the Killing Jar.'
nor Kate Soper’s striking 2012 “Voices From the Killing Jar” is an opera, not that it matters. Each is a 40-minute rivetingly dramatic tour-de-force for a female singer/reciter/performance artist. Soper, moreover, pays homage to “Pierrot” a century after, modifying what has become known as the “Pierrot” ensemble of flute, clarinet, violin, cello and piano and employing electronics.
But put all of that aside for a moment. I’ve buried the lead. A star should have been born two years ago when Rountree mounted Ragnar Kjartansson’sfor the Los Angeles Philharmonic. A three-minute snippet of redemption at the end of Mozart’s “The Marriage of Figaro” is repeated nonstop for 12 merciless hours. Through it all, forgiveness is given by the Countess Almaviva to her faithless husband in a seemingly impossible number of ways, making this the ultimate woman’s revenge in opera.
It is to Soper’s and especially Irene’s credit that the chopper did so little musical damage. By this point, Irene had run the emotional and the vocal gamut with her screams and her creamy lyric lines. With exacting virtuosity, she tore up the scenery but not her vocal cords, assumed new characters with instant ease, vomited vines and hung herself. She had the audience in a thrall that no flying musical war machine could stop.
Albert Giraud’s Surrealist text adds another dimension as we try to come to terms with the amoral, moon-drunk Pierrot, the clown-maker of nightmares who has no business emerging from deep within our subconscious. That’s already a dimension or two too many for most of us. Agami added characterful movement — interesting to look at, but too much to look at along with the titles translating the German text.
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