Joe Goode manages in Transformation, this summer's first fully-staged production of the SF Opera Merola program, the opposite trick as in his own shows: instead of getting dancers to sing, he got singers to dance. It helps that his cast is youthful, -- Merola singers are between 20 and 34-- full of energy, and willing to take risks. But his direction enlivened an opera which, since it is a sequence of a prologue plus nine little stories without an overarching narrative line, only a common theme, could potentially feel repetitive.

Conrad Susa, who was in attendance and seemed quite pleased afterwards, wrote Transformations in 1975, on a commission of the Minnesota Opera, based on a libretto of Anne Sexton, itself based on her interpretation of the Brothers Grimm's fairy tales. The tales are not transformed enough that you don't recognize them. You'll go "oh, yeah, I remember" quite a few times when forgotten details will surface. But they are modernized, so that a prince compares to Joe DiMaggio and Snow White, who opens the door three times despite being told not to, is a "dumb bunny." And they illustrate contemporary lessons --or stretched interpretations of the tales-- on relationships between parents and children, on feeling weird or being queer.

Pictures by Kristen Loken, courtesy of the San Francisco Opera.

The music is a patchwork of influences, not too harsh on the ears, without unnecessary notes, but with quite some vocal calisthenics, supported by an eight piece orchestra of trumpet, trombone, clarinette, keyboards, percussions and an acoustic bass. The whole piece is easy to stage, with a single set, a bbq party in an astro-turfed garden, and the roles are balanced: except for the prominent role of Anne Sexton herself, and for the limited role of the Magic Object, all other six roles are featured evenly. This opera is really an ensemble piece, and no one eclipsed the others. There were few bravura moments. Quite the contrary, everyone supported the others so they could all shine.

Joe Goode's directing makes the most out of the ensemble, choregraphing coordinated moments. All performers are on stage most of the time, but they are never lost nor useless. Goode finds fresh ideas to keep things lively and full of humour, without veering into slapstick. The Seven Dwarves routine is hilarious.

A few songs did stand out. The lesbian love aria of soprano Jamie Chamberlin ni Rapunzel let her display a creamy, luscious tone, until the humourous ending in a duet of evocative cooing with soprano Ani Maldjian. The cannibalism aria of mezzo-soprano Blythe Gaissert wetted our appetite too with her soft-edged voice. Are we the only one slightly irked that the only goofball role fell in the lap of the only black dude, Noah Stewart? He does not demerit, gets a ton of laughs, but couldn't he be Prince Charming instead, instead of a dwarf, an old lady or a fiddle-de-roo player? Bass David Crawford resonated with assurance in the lowest registers, where most would lose power.

Another piece, in which Jamie Chamberlin is handed a mike and sings a showpiece stood out the opposite way, due to issues of balance between the amped voice and the orchestra. It was however the exception rather than the rule, with conductor Sara Jobin and the small orchestra doing their duties competently. It needs to be said that none of the singers had to fill up a huge space, nor compete with a strong orchestra: Cowell theater is an intimate venue, and this was almost chamber music. We'll have to wait till the Gala in the War Memorial Opera house to check how they fare on a big stage.

Transformations is performed again Sunday 7/16 at 2pm.
For more info on this show, click here
and on the remaining Merola program shows, click here.