An American Tragedy (2005)

Libretto by Gene Scheer & Music by Tobias Picker

Libretto by Gene Scheer, Music by Tobias Picker

An American Tragedy

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A glittering cast led by Patricia Racette, Susan Graham, and Nathan Gunn revels in this rich, voice-friendly score, which is redolent of antecedents yet no less cleverly spun.
Tobias Picker is very much a man of the theater. ...An American Tragedy deserves to find a comfortable place in the permanent repertory. From the opening sweep of the orchestra it has a grandeur that is cinematic; a scene in which the wealthy Samuel Griffiths is introduced with his rich cronies is a passacaglia begun by tuba and carries with it just the right gravity and pomposity....the score is attractive and picturesque...A quartet with chorus after Clyde has been accused of murder is reminiscent of moments in Britten's Peter Grimes...opera lovers, I suspect, will be more than pleased with Mr Picker's well-crafted, well-scored opera...a very potent show...It's well worth seeing.
Picker knows his way about the lyric stage...An American Tragedy may be the perfect modern opera for people who hate modern opera.
…the opera is accomplished, dramatically effective and thoroughly professional. It's hard to imagine a more compelling cast. Admirers of the baritone Nathan Gunn who have been waiting for him to have a major success at the Met will cheer his portrayal of the protagonist, Clyde Griffiths, the uneducated, ambitious son of street-corner evangelists in the Midwest who yearns to join the upper crust. The production by the director Francesca Zambello could not be more gripping….
a marvelous duet for Roberta and Sondra (both in their separated worlds) singing of their love for Clyde provided one of those moments that only the lyric theater (music or dance) can offer, with two things going on at the same time but not the same place.
An American Tragedy is a compelling mix of sex, religion and status...Picker's music has power.
[Picker] is a natural opera composer, who is supremely comfortable writing for voice and who also — mirabile dictu! — knows how to write for orchestra so that it rarely drowns out the words.
The music is tonal and accessible, with lots of big arias to show off its principal characters, choral numbers for contrast, even dance music. ...Mr. Picker's deft musical scene changes gave the piece a cinematic flow.
...the opening night audience greeted the work as if it were a masterpiece...[Picker's] fourth opera, which the Met commissioned in 1997, is expertly made. His singable vocal lines are gathered in the kind of set pieces operagoers know and love — arias, ensembles and choruses...The orchestra writhes with dissonant agitation, and the vocal lines take on saving urgency. Similarly, the scene later in the opera when Roberta and Sondra each expresses her longing for Clyde in the same lines of text is engrossing music theater...Graham savored everything that's seductive and opulent in Sondra's music while moving the audience through her character's plight.
... with an effective libretto by Gene Scheer that reduces the 900-page novel to its essential narrative strands, "An American Tragedy" has its own kind of sweep and passion... The cast seemed to relish singing Mr. Picker's opera, and that says much in its favor.