Though most of us have never entertained the idea, once one is introduced to the concept, it seems obvious that an airport is a truly fitting metaphor for our lives on earth. Fortunately, this is what April De Angelis made the basis for composing her libretto for the opera Flight. Add to it Jonathan Dove’s brilliant score, and the result is the wonderful opera presented by the Vancouver Opera.
Of course, this is a work that contrasts sharply with the standard opera repertoire, as exemplified by the familiar props of opera companies: Puccini, Verdi, and Mozart, etc. – and perhaps is more welcome in its novelty because of that.
Flight is especially surprising in that it takes as its inspiration the true story of a man stranded for several months at a French airport (a story similar to that of the Tom Hanks movie The Terminal), but instead of concentrating solely on the tale of the unfortunate Refugee, the opera also weaves in the stories of a number of airline passengers and staff who encounter the stranded man. The result is a commentary on the unexpectedness of human life.
As we live our lives, we are all trying to get somewhere. We usually set goals, though sometimes with distinct reservations. Frequently, we get sidetracked from those goals by unexpected circumstances or alterations of outlook, change plans, meet other fellow travellers on life’s journey, engage in unexpected and sometimes foolish activities, and reset our ambitions. As we move on, we rejoin others as we forge ahead once again with plans, either new or old, but also, sadly, leave behind some fellow humans who simply cannot escape from their own circumstances. The result can be dramatic, sad, embarrassing, comical, or totally unexpected. De Angelis has cleverly woven all this into her libretto.
Moreover, composer Jonathan Dove has set that libretto to a suitably edgy, urgent, often staccato score that achieves fine dramatic effect, beautifully accentuates the varying drama, and sometimes turns into a lyrical and sweeping accompaniment to the events.
Clearly, such a work makes huge demands on the company brave enough to mount it, and the VOA has certainly risen to the challenge.
The relatively small cast creates believable characters, performs the complexities of the action with aplomb, and sings superbly. While all the performers do excellent work, Cameron Shahbazi, as the stranded Refugee, deserves special mention for his delicately nuanced and poignant contribution to the evening. At the same time, Leslie Dala and the Vancouver Opera Orchestra give masterly expression to the complex and challenging score. Add to this the design team’s creative work, Morris Panych’s lively and inventive direction, and the evening becomes a triumph, warmly welcomed by an enthusiastic audience.
Indeed, one hopes that the VOA will be encouraged to include more newer works in future seasons. However, the traditionalists will doubtless welcome the fact that this year’s program will be rounded off by the much-loved Madama Butterfly, while next year’s will include Rigoletto, Così fan tutte, and La Bohème.
Regardless of whether the Vancouver Opera presents old or new works, we should all be grateful that it continues to do so admirably; the VOA is certainly a fine jewel in the crown of Vancouver’s artistic life. Fortunately, the company enjoys excellent support, so if you wish to take advantage of the upcoming productions, you had better book your tickets early! Flight runs until Feb. 16.
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