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Rufus Wainwright and Prima Donna
Presented By NYC Opera
Rufus Wainwright’s Prima Donna
When deciding why to go to an opera, does one usually choose the composer or the content? In a perfect world an opera should provide drama and entertainment with both. Rufus Wainwright has created one such performance, a production to go see for the show on and off the stage. Of course, an opera about an opera singer written by an eccentric artist is certainly set up to be incredibly stylistic both visually and intellectually.
Prima Donna is truly a modern opera. An opera by any other name cannot provide all of the culture of the experience while captivating even the most irregular of opera attendees. With the libretto written in French, it evokes the cultural formalities of what is to be expected, however, it is meant to be a performance any one could enjoy. Composed by a man who knows both classical opera as well as mainstream music, its goal is to provide something that has been missing for a long time in the classical opera world, accessibility. It is a story that quickly turns into a romance between the characters, but more intriguing is that the story, deep in its drama, is meant as a love letter to opera itself. Peel away the surface and one can see the inspired touches of love to opera written through its veins.
The relationship between creator and masterpiece is a silent language unless one understands the man behind the music. Far from the folk roots of his past, Wainwright has created a personal look at what opera means to him. As a singer, songwriter, and artist Wainwright is certainly hard to categorize. He has established himself as one of the great songwriters of his generation, won international awards for film and music, and has lasting power in the world of theatre. Fans of his who are expecting traditional Wainwright folky or rock sound are in for a surprise. He does stick to the common theme of loss, betrayal, delusion and nostalgia found in most of his work, but Prima Donna is a traditional opera meant for a proper operatic setting.
Janis Kelly will take the reigns as the title role of Régine Saint Laurent. She has been with the production since its debut at the Palace Theatre in Manchester, England on July 10, 2009. Beginning her career in the early 80s, Janis has had lead roles in numerous productions with the English National Opera, Opera North, and the Royal Opera. Her role in Prima Donna is most fitting since as a veteran singer, she understands what it means to love the art and also understand that each artist carries a short burdensome lifespan. This role of the ageing lead female voice searching to reclaim her title at the top has to be played glamorous and charismatic with a feeling of desperation and a need to prove something. No one other than Janis Kelly could take this role as strongly and head on as she has. Wainwright said of her, “she became a part of the writing of the piece. I’m a man writing about a woman and she was basically the only woman there; without a strong female to guide us, it wouldn’t have rung as true.”
In the audience sitting peacefully right next to each other will be folk Wainwright fans, rock Wainwright fans, classical opera fans, and unbiased onlookers hoping a riot will break out. Even before the opera was close to performance ready, drama was afoot, between arguments about language, location, and release date. Wainwright takes his first attempt at operatic talent and proves that he is truly a gifted composer. Prima Donna is an extension of Wainwright, a love story, wonderfully entertaining theatrical production in every single way.
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