Leonard Bernstein with Felicia Cohn Montealegre at their wedding on Sept. 9, 1951. Bernstein’s suit had previously belonged to Serge Koussevitzky. (Courtesy Music Division/Library of Congress
During his honeymoon in 1951 Bernstein started composing his first opera, Trouble in Tahiti. He wrote not only the music, but also the libretto, which, according to his biographer Humphrey Burton, was highly autobiographical and based on his parents’ marriage. Bernstein himself described it as a “light work, inspired by popular songs” and dedicated the piece to his good friend Marc Blitzstein, who had taught him the basics of musical theatre.
Bernstein with composer and friend Marc Blitzstein. Photographer unidentified. (Music Division)
The work may be light, but it is certainly not light-hearted. Consider it a satirical caricature of the life of an average American couple in the suburbs in the 1950s. To the outside world, they appear to be a happy couple, but in reality they are deeply unhappy, both with each other and with the life they lead, despite achieving prosperity.
The opera begins with – and is commented on by – a vocal trio singing about the idyllic life of the American middle class. A kind of contemporary Greek chorus that is reminiscent of the Andrews
Sisters, or the radio commercials of that era.
British director Tom Cairns filmed the opera for television in 2001 in the style so characteristic for the 1950s comedies starring Doris Day.
Karl Daymond is not to be dismissed as a vocally and scenically inimitable Sam, and Stefanie Novacek is a more than convincing Dinah.
Tom Randle, Toby Stafford-Allen and Mary Hegarty (the Greek chorus) sing and act at the highest possible level.
An absolute must.
Basia con fuoco 