A Review of Grendel

Well the world premiere of Grendel at Los Angeles Opera was a technical wonder, beautifully costumed, and richly orchestrated. Watching this opera was enjoyable for all the action of the stage and actors. Unfortunately, the plot seemed disconnected in places and empathy for the actors was not developed. Arias, while there, were not memorable or melodic. Several I spoke with said the plot did not resonant after seeing the production.

The weakness of modern opera lately seems to be focused on spectacle like Grendel's destruction of the King's Hall, and there is a loss of character development that speaks when the drama or comedy does not draw the audience into the workings of the main characters. When Nicholas and Alexandria made a debut in Los Angeles, opportunities to play up the love and character of the Czar and his wife were missed. A child aria for the son was also a missed opportunity.

Evil is played up in modern opera to give it an edge. Grendel is a spoiled brat. Rasputin is a social libertine. We laugh at Grendel's crude remarks.

But, a sense of goodness is not used as a counter balance. In Grendel, the heroes are witless or silent. Relationships fade in favor of selfishness and self focus. Ironically, the Grendels of the modern age are seen on the television news and the tawdry talk show circuit.

We miss the full range of emotion between two lovers; the king and queen of Grendel or the czar and czarina of Nicholas and Alexandra. The agony of self doubt and loathing of a dying child as Grendel or the czaravich would give us pause for reflection. Instead, we wonder if the characters have redeeming passions when the dance orgy in Grendel or the endless drama of darkness in Nicholas and Alexandra pervade scenes.

A good story needs the pull of two opposing worlds to allow the winds of change to move through the plot, inspire empathy, and deliver interest to the audience.