3/16/2023 0 Comments Opera touch reviews![]() ![]() That scene is wonderfully paired with Prestini’s spritely musical flourish. ![]() The theatrical device offers a window into Edward’s personality and later makes for a wonderful scene of doll and performer pairings in a china doll shop. Particularly effective is the conceit of seeing Edward as both an actual doll and a live performer. In the inspired creativity of librettist Mark Campbell and stage director Eric Simonson, who previously collaborated on the Minnesota Opera’s productions of “Silent Night” and “The Shining,” the large cast and many sets are seamlessly woven together. Some of the scenes are feats of wonder, including an underwater foray, when a giant Edward gets surrounded by glowing sea creatures, and an incredible scene where Edward is surrounded by corn stalks and picked at by flying crows. Scenic designer Walt Spangler frames the set with a giant doll cabinet, which transforms through light and other scenic design elements to different locales throughout the performance. In the end, the Ordway’s Music Theater was packed for the premiere of the much-anticipated opera, and everyone took their seat. Further ado occurred inside the Ordway, as an issue with getting the tickets printed caused some delays. Then there were the representatives from the Twin Cities musicians union, Local 30-73, who passed out flyers that stated the musicians of the Minnesota Opera Orchestra are working without a contract for the first time in 30 years. There was some hubbub before the show on Saturday, what with the traffic from the Wild game and downtown road construction. ![]() Even in the complexity of the score, Prestini picks her moments to turn up the deep feeling of the characters through emotion-pushing musical lines. Throwing in whimsical adornments, playful pauses and plenty of pizzicato, Prestini also infuses the music with hints of dissonance. The New York-based composer brings an edginess to the production. The Minnesota Opera tapped Paola Prestini to scribe the score. After being separated from his first owner- a young girl named Abilene- he travels the world, encountering friends and foes, and learns the true nature of love. He can’t talk to the human beings he encounters, but he builds relationships with them all the same. In the tradition of classic books like “The Velveteen Rabbit,” and “Winnie the Pooh,” “Edward Tulane” presupposes that its main character, a children’s toy, is a fully sentient being, completely aware of everything happening around him. With colorful, imaginative design, innovative staging and an ambitious score, the tale of a China rabbit’s tremendous journey comes to life with buoyancy and emotion. Minnesota Opera’s production of “Edward Tulane” brings out the magic of Kate DiCamillo’s novel, “The Miraculous Journey of Edward Tulane,” in a world premiere that opened on Saturday at the Ordway. ![]()
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