EDGE Miami

Florida Grand Opera ends its first season at the Carnival Center for the Performing Arts with the World Premiere of Anna Karenina. From the pen of Leo Tolstoy to the magnificent stage at the Ziff Ballet Opera House, this timeless tragic novel comes to life in a superb production commissioned especially for the FGO by general director Robert Heuer.

As patrons await the start of Anna Karenina, Leo Tolstoy’s penmanship is brilliantly projected on the Opera House sheer curtain as if allowing us the opportunity to read the pages of his famous novel, which was originally published in installments for the periodical Ruskii Vestnik between 1873 and 1877 before it became a complete book.

When the curtain raises to the Prologue in Act I, revealing to the audience that all the walls and panels framing the scene contain Tolstoy’s handwriting, we know we’re in for a very special treat. This fantastic effect, which would be consistent in the entire production, makes it appear as if we are actually reading his novel as the characters come alive from behind the pages.

We’re introduced to Anna Karenina, played marvelously by Soprano Kelly Kaduce, who has arrived at the Moscow train station in December, on her way to her brother Stiva’s house. There, she witnesses the horrible death of a man who commits suicide by jumping in front of a train. Anna and all other bystanders are shocked by the incident, as they go about their business in complete silence, accompanied only by the haunting score. Among the bystanders, front stage left, an elegant dowager is consoled and helped across the length of the train station by her young companion; this gracious lady is played by none other than Carnival Center Benefactor Dolores Ziff, in a brief cameo appearance.

The train station is smoothly transformed into Stiva’s house, where Anna comforts her sister-in-law Dolly, played by Mezzo-Soprano Christine Abraham in her FGO debut, and convinces her to forgive her husband for his indiscretion with their children’s governess by telling Dolly that Stiva loves her; this was not an affair of the heart. Both this scene and the train station incident foretell the fate of Anna.

The exquisite sets were designed by another FGO newcomer, Neil Patel, who achieves elegance with simplicity. Footmen and porters carry pieces of furniture in and out of the set as if part of their daily routine, changing one location into another with much ease.

As gigantic chandeliers descend, Stiva’s house is converted into the St. Petersburg New Year’s ball, where Levin, played by Tenor Brandon Jovanovich in his debut with the company, proposes to Kitty. Played by Soprano Sarah Coburn, Kitty rejects Levin’s proposal as she has been swept off her feet by the handsomely rugged Count Vronsky, played by Baritone Robert Gierlach. Vronsky, in turn, has manifested his attention for the more mature and beautifully intriguing Anna, who attempts to resist to no avail.

While the four leading characters sing their love intentions and frustrations, in a visually stunning scene reminiscent of a giant music box come to life, guests commence to dance to a waltz; and as they do so, they are moved by a revolving stage in a clockwise direction. In distinct contrast and at the center of them all, Anna Karenina and Count Vronsky mark their defiance to society and to her husband Karenin by dancing the waltz counterclockwise.

Karenin (sung by powerful Bass-Baritone Christian van Horn) tries to hide his frustration and embarrassment as the party guests notice the couple’s impropriety and decides to save the evening by taking Anna home. At home, Anna dismisses her husband’s suspicions and goes to bed.

At a brilliantly split set, one side Stiva’s home, another Levin’s country house, we find a bitter Kitty being comforted by Dolly and a forlorn Levin being consoled by Stiva, played by Tenor William Joyner. As Dolly tries to convince Kitty that Vronsky is not worthy of her and to focus her attentions on Levin, Kitty comes back at Dolly with the fact that she would not forgive someone who has cheated on her; meanwhile, Stiva informs Levin of the dangerous liaison that has formed between Vronsky and Anna, while providing news of Kitty.

At home, Anna confesses to Vronsky that she is pregnant with his child; he suggests she should tell her husband and leave with him; however, Anna explains that she couldn’t do that and abandon Serioja, her beloved son. At this point Serioja, played by young Alejandro Holliday, enters the room as Vronsky exits, and we clearly understand the great bond that exists between mother and child.

Later that day, Karenin takes Anna to the horse races; there she witnesses in horror as Vronsky and his horse take a hard fall. In desperation, she begs for someone to help her love in his time of need; ashamed by it all, Karenin goes home, a broken man.

The costumes by Robert Perdziola in his FGO debut are sumptuously rich in their mostly black and white design, which is most apparent during the race scene and reminiscent of a similar scene in My Fair Lady. The color palette provides a perfect fit as characters move offstage in total shadow, as if disappearing into the pages of Tolstoy’s book.

Karenin gives Anna one last chance to renounce her love and return to her duties as a housewife and mother. She refuses, and he ensures she’ll never see her son again. Anna, dressed in pure white, sings of her recurring nightmare of an old beggar beating metal against iron, over and over, sounding like an oncoming train. She then drops to the floor as she sings of her despair at having to choose between the man she loves and the son she adores. The curtain comes down on Act I.

Act II opens up with people walking about in St. Petersburg’s Admiralty Gardens as autumn begins, marking the end of summer for all, especially for Anna and Vronsky. Anna is being divorced by Karenin, as Dolly tries to intercede and convince him to forgive Anna’s indiscretions for the sake of their child and the love he has for her.

Meanwhile, Anna, who is near death from a miscarriage, draws both grieving men to her bedside, where she affects a temporary reconciliation between both of her "Alexeis", Vronsky and Karenin.

Six months later, we find Levin and Kitty married and expecting a child. Levin is still disappointed at the turn of events, as he learns that Anna, now fully recovered, has left Karenin and Serioja for Vronsky. He is comforted only by Agafia, as played by Mezzo-Soprano Rosalind Elias, the wise old nurse who raised him as a child, and who tries to explain the complexities of love.

The next scene finds both Anna and Karenin writing and/or reading letters as the revolving stage brings them in and out of audience focus in another split set scene. Anna, dressed in a pure white elegant gown, sitting at her white desk writing a desperate plea to Karenin, begging to be allowed to see her son again. In contrast, Karenin, dressed in his black suit, sitting on his dark desk, reads such plea and is about to give in before taking advise against it from his sister Lydia.

Two days later, on her son’s birthday, Anna enters the house and into Serioja’s bedroom; there, she is surprised to learn that her son thought her dead. They cuddle, they kiss, and they laugh, until she realizes she must go. Her son shows resentment towards his mother, who then asks him to forgive her and warns that one day in the future he’ll understand. Karenin discovers Anna in the house and orders her to stay away from her son forever.

Totally destroyed by the separation from her son, and feeling abandoned by Vronsky, Anna returns to her dark and humble hotel apartment, where she is later visited by Dolly, Stiva, and Levin. Though consumed with jealousy and despair, and addicted to opiates, she pretends to be happy in front of her visitors. Later she confronts Vronsky, who claims he has given up a lot for her and is tired of her accusations and unwarranted mistrust. He threatens to leave her once and for all.

In full circle, Anna is back to the train station, where, under the influence of morphia and melancholy, she confuses a street urchin with her son. Realizing that he is not Serioja, and understanding her loneliness and desperation, she then sees the old beggar from her dreams and hears the cling clang sound of metal against iron as she decides to end it all by throwing herself in front of an oncoming train, fulfilling her recurring nightmares.

Back at Levin’s country home, months later, spring has returned and all is well. Agafia once again imparts her wisdom as she explains to Levin that the reason for living is to live, love, be loved, and not judge others. Levin and Kitty carrying their newborn child walk happily off the stage as the curtain comes down for the last time.

Brilliant libretto by Colin Graham, period perfect music conducted by Stewart Robertson, and superb singing by the cast helps the story unfold seamlessly; however, there is no high point, no musical moment that would remain etched in one’s mind forever. One wonders, and some may shudder, as to what Andrew Lloyd Webber could have conceived, given the opportunity to produce such stunning work as a Broadway Musical instead.

Carnival Center for the Performing Arts, 1300 Biscayne Boulevard, Miami, FL. April 28 at 7pm (world premiere); May 2, 5, 8 & 11 at 8pm; May 13 at 2pm. Single tickets start at just $10. If the performance or seating section you want is not available be sure to call the box office at 1-800-741-1010. Tickets are often donated back to the opera and are available for you to purchase.