The LA Opera is getting creative. It was interesting to see this movie turned in to an opera, but as far as operas go, I can pretty much guarantee it won't become a classic. The performers and the orchestra, conducted by Placido Domingo, sounded as good as they could considering the lackluster score.

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Oh my.

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I want to support new operas so that we're not stuck with the old traditional warhorses -- as good as they are.

The thought of a new work with a science fiction theme and the addiction subtext was intriguing. Cronenberg's 1980's movie adaptation is one of my favorites, with the previous 1950's movie providing happy late night creature feature memories.

A major challenge is the difference between a modern opera and the traditional one. The more recent works tend to avoid the "big songs" in favor of maintaining a steady stream of music. There are no over-the-top accessible arias that leave the audience with a tune they can hum afterwards. ("Laugh, clown, laugh -- even though your heart is breaking!" "Someday that's ship's going to bring my sailor man back to me..." "I'm a kick-ass bull fighter!") It's almost like that kind of "pandering" has been left to the rock operas like "Phantom of the Opera" and "Les Miz." Composer Howard Shore has definitely crafted music full of foreboding moodiness with much needed playful diversions, but nothing "hummable" nor open to being sung on its own.

Another example of problematic restraint is brought out by the science fiction nature of the story. Prominently featured on the stage is the teleportation machinery; boxy shapes with blinking lights and screens with shapes & text reports that are key to the plot. This is Seth Brundle's life's work that could transform the world and ends up recreating him into a superman -- then monster. While Shore has a choir performing the print outs of the computer, the score never fully evokes the machinery at work (maybe a Philip Glass-like cycle of notes or exotic percussive instruments plinking away or even a synthesizer or Theremin performing crazy electronic sounds). Instead the score stays with the emotional tone of the characters while the flashing lights and steam of the machinery exist in a visual vacuum.

There's also a strange issue of how opera singing tends to alter language so much that you really need the supertitles to understand what's being said -- even though you speak it every day. There are countless styles of singing around us (tune in to any radio station) where there is no problem comprehending the words. It's distracting to require visual translations. On top of that, some voices simply had trouble being heard over the full orchestra playing in the pit.

That said, the exploration of a reporter falling in love with an awkward genius only to see him transform and suffer through his experiments was involving. The ideas Cronenberg explores in many of his movies are certainly present in this adaptation. ("We must get beyond the flesh - No, we must embrace the flesh - Wait, I have created the New Flesh!") The decision to set the story in the 50's gave the production an interesting look with the costumes and technology -- as well as an intriguing wrinkle on the central decision Ronnie the reporter has to make after realizing that she's carrying Brundle's child. The stagecraft involved with showing off Brundle's invention and transformations were quite effective.

So, a faint recommendation. I liked the adaptation of the narrative, admired the visual design, and wish the music was more accessible and entertaining.

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worst "opera" ever. it was like attending the emperors new clothes. it was shameful.

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