Start with a group of folk tunes, throw in some rollicking Broadway numbers and a tongue-twisting song that would have made Gilbert and Sullivan proud and you begin to get some idea of Benjamin Britten’s rarely seen “Paul Bunyan.”
Britten is considered one of the greatest English-language opera composers of all time, but this 2 1/2-hour work isn’t really an opera at all. Instead, it is a daring, distinctive if undeniably quirky musical-theater hybrid.
While even the biggest fans of this work would probably agree it is not a masterpiece, especially when compared to some of the composer’s later operas that do hold that honor, there is still an enormous amount to admire and enjoy.
At the same time, though, it must be said that this idiosyncratic creation, which doesn’t shirk from taking a socio-political stance, and can even be preachy at times, simply will not appeal to everyone’s taste, no matter how well it is done.
And, make no mistake, few companies anywhere could top Central City Opera’s imaginative, intelligent and thoroughly entertaining production of “Paul Bunyan,” which opened Saturday evening.
This two-act work is essentially a series of vignettes, with an omnipresent cowboy crooner, who arrives magically via a flying rocking chair, providing a narrative through line and essential background on Bunyan via his periodic folk songs.
A group of lumberjacks supply a light, Broadway-like component of the piece, with rollicking ensemble scenes. One occurs at their entrance when the heavy-footed lugs make a hilarious attempt at a dance number with chorus-line kicks.
Bunyan, an almost godlike father figure, is never actually seen. He is heard only through the declamation, in this case, of the mellifluous, booming voice of bass-baritone Richard Cross.
The eloquence of librettist W.H. Auden, one of the great poets of the 20th century, can be heard to advantage in Bunyan’s words as well as a spellbinding opening chorale that was movingly realized by Central City’s fine chorus.
This prelude, which is performed by the old and young trees in the forest, lays out the principal themes of this work, including Manifest Destiny, the effects of modernity and the broader nature of change and growth.
Because of the sometimes uneasy relationship between Auden’s weighty words and Britten’s often jaunty music and the unorthodox structure, “Bunyan” is far from easy to stage.
But director Kan Cazan brilliantly meets the challenge. He manages to weave all the contrasting elements into a cohesive whole, giving due attention to the serious themes while still managing to generate laughs and keep the action moving.
Perhaps most important, Cazan employs a consciously stylized, wholly non-naturalistic approach to this work that totally fits. He throws in such whimsical, low-tech touches as a Western Union boy holding bicycle handlebars and pumping his legs while being held aloft and moved by two people.
Just as important as Cazan’s contributions is the participation of highly respected conductor Steuart Bedford, who led the work’s delayed British premiere in 1976. He does a masterful job here, giving expressive voice to Britten’s multifacted score and ensuring this production’s integrity.
Anything but a star vehicle, “Bunyan” is an ensemble piece with a wide array of roles, even including a dog and two cats. Standouts include tenor John McVeigh as Johnny Inkslinger and baritone Marcus DeLoach, who seems so at home as the twangy folk singer that it’s easy to forget he’s really an opera regular.
Also strong are tenor Ryan MacPherson as Hit Biscuit Slim and up-and-coming soprano Alison Trainer, an appealing, natural singer who hits her high notes with ease, as Tiny.
Fine arts critic Kyle MacMillan can be reached at 303-820-1675 or kmacmillan@denverpost.com.
Benjamin Britten’s “Paul Bunyan”
OPERA|Central City Opera, Central City Opera House, 124 Eureka St.; 8 p.m. Friday, 2:30 p.m. Sunday, July 27, 29 and 31, and 8 p.m. Aug. 2, 4 and 6 |$34-$79 |303-292-6700 or centralcityopera.org.
