If ambiguity is one of the signs of artistic greatness, then Cary John Franklin's Loss of Eden, which centers on the Lindbergh kidnapping, already has a running start on immortality. The prolog, for example, is dominated by rapid, polyrhythmic figures in the lower strings that suggest both the turbulent flight of The Spirit of St. Louis and the equally turbulent emotions connected with the kidnapping. Michael Patrick Albano's libretto suggests more than it shows, takes no clear position on the still-controversial issue of Bruno Hauptmann's guilt, and at its emotional climax gives us a trio in which the words are those of that mistress of ambiguity, Emily Dickinson.
If that makes it sound as though Loss of Eden is lacking in drama, however, don't be misled. The libretto may pose more questions than it answers, but it does so with great dramatic force, drawing sharp parallels between the Lindberghs loss of their dream ‚ a son ‚ and the Hauptmann's loss of theirs ‚ a new life in America. Franklin supports this with a cannily theatrical score which sounds clearly contemporary without sacrificing melody and harmony, occasionally even dipping into the popular idioms of the '20s and '30s, including a direct quote from James P. Johnson's 1923 hit "Charleston".
My only real complaint is that in the end, Charles Lindbergh is just as opaque a character as he is at the beginning. Anne Morrow Lindbergh, Bruno Hauptmann and even his wife Anna are more clearly defined. Still, the real Lindbergh was, by all accounts, something of a cold fish, so why should his operatic incarnation be any warmer?
That said, baritone Keith Phares is appropriately stoic as Lindbergh, with a solid, clear voice and fine diction. Ditto mezzo Kellie J. Van Horn in the pivotal role of Anne Morrow Lindbergh. Albano has give her character lyrics that are far more poetic, as befits a writer, and Van Horn makes her sympathetic and believable.
Tenor Mark Duffin is compelling as the driven and doomed Hauptmann as is soprano Ann Panagulias in the harrowing role of his wife. Hers is the closest to a genuinely tragic character and her performance is heartbreaking. All the other roles are filled by a versatile eight-member chorus that appears to specialize in quick costume changes.
Karen TenEyck's unit set is little more than a large stair with a pivot in the center mounted on a turntable, but it proves to be immensely adaptable and allows for quick scene changes ‚ an essential quality in an opera that packs eleven scenes into just two hours, including intermission. Marie Ann Chiment has done her usual fine job with the period costumes. Philip Brunelle conducts the OTSL orchestra with a sure hand, as you might expect given that he has been closely involved with the work since it's genesis six years ago.
The Opera Theatre of St. Louis production of Loss of Eden is as fascinating and enigmatic Lucky Lindy himself. It runs in rotating repertory with three other operas through June 28th [2002]; call 314-961-0644 for ticket information.