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Met revives Massenet's "Thais" for Renee Fleming
By MIKE SILVERMAN,Associated Press Writer AP - 38 minutes ago
NEW YORK - More than a century before Justin Timberlake exposed Janet Jackson's right breast at the Super Bowl halftime show, the opera world had its own "wardrobe malfunction" _ a scandal that gave rise to the mystique that surrounds Jules Massenet's "Thais" to this day.
At the opera's 1894 premiere in Paris, the soprano singing the title role of the courtesan who finds God in fourth-century Alexandria exposed her bosom at the end of Act 1. It's not clear if this was deliberate, but the incident gave the work a lurid reputation that has kept it on the fringes of the repertory. That and the fact that it requires a soprano who combines tremendous glamour and physical appeal with a sturdy voice capable of rising to high D.
No malfunctions were in evidence Monday night when the Metropolitan Opera presented "Thais" (pronounced "tie-EESE") for the first time in 30 years, in a production built to showcase one of the few sopranos who has those necessary ingredients _ Renee Fleming.
She first sang the role in the same ornate but vulgar production by John Cox at the Lyric Opera of Chicago in 2002. Her co-star then as now was baritone Thomas Hampson, portraying the monk Athanael who converts Thais to Christianity but succumbs to her charms and loses his own faith.
Both of them were simply splendid. Hampson needed awhile to warm up, but his voice soon took on its familiar burnished beauty, and he made Athanael's torment painfully realistic. Fleming was in glorious voice, floating high pianissimos with ease, pouring out melting, creamy tones, and blissfully free of the mannerisms that sometimes mar her work. She also got to show off her spectacular figure in a series of costumes designed by Christian Lacroix. (These included elegant gold and red gowns for her early appearances and, bizarrely, an off-the-shoulder dress for her penitential trek across the desert and what looked like a Victorian frock for her death scene.)
In the thankless supporting role of Nicias, the libertine who pays a fortune to enjoy Thais' favors, tenor Michael Schade acquitted himself well.
Jesus Lopez-Cobos conducted the orchestra with affection for Massenet's colorful score, minimizing the fake Orientalism and bringing out the deep feeling that underlies the scenes between Thais and Athanael. The familiar "Meditation" with its yearning melody was played beautifully by concertmaster David Chan, and it was nice to see him get a solo curtain call.
Last time the Met staged "Thais" it was for Beverly Sills, and the production lasted just one season. Fleming is scheduled to sing the role nine more times through Jan. 8, but after that it's possible the opera may disappear for another 30 years, until a new star comes along who can do it justice.
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