Journey to the Amazon at Nashville Opera
Fasten your seat belts, Nashville. You’re about to embark on a fascinating journey with Nashville Opera’s marvelous “Florencia en el Amazonas.”
Inspired by the writings of Gabriel García Márquez and featuring libretto by Marcela Fuentes-Berain, “Florencia” is a contemporary opera by Daniel Catán. The first Spanish-language opera to be commissioned by major American opera companies (it actually was co-commissioned by Houston Grand Opera, Los Angeles Opera and Seattle Opera), it premiered in Houston on Oct. 25, 1996.
Known for his neo-Romantic style, Catán has been compared to Puccini and Debussy. And his traditional, full-blooded melodies are certainly on full display in “Florencia.” But there are unexpected flourishes, as well. Latin rhythms punctuate the rich orchestrations, and it’s easy to pick out individual instruments along the way.
Likewise, Fuentes-Berain’s libretto provides a striking blend of straightforward storytelling and more mystical elements. True to the “magical realism” of her mentor García Márquez, Fuentes-Berain’s libretto blurs the line between fantasy and reality with breathtaking artistry.
Set in 1910, the story centers on a small steamboat that ventures down the Amazon River, deep into a jungle paradise. But we soon find that the passengers will face more than just the mysteries of the jungle — it’s the intoxicating possibility of love that weighs most heavily on their minds.
The setup is seemingly simple, but what makes Nashville Opera’s production stand out is surely artistic director John Hoomes’ unique vision. As the story opens, the shimmering Amazon comes to life with members of the Nashville Opera Ensemble slowly emerging, creating a constant wave of movement. The visual effect is rather stunning — and thoroughly engaging.
And the performances are just as rewarding. Elizabeth Caballero gives an enchanting performance as Florencia Grimaldi, a famous opera singer hoping to find her long-lost love. Caballero’s crystalline soprano carried to the rafters at Wednesday evening’s final dress rehearsal, and she embodies her character’s emotional transformation.
Bass-baritone Keith Miller also dazzles as the mystical shapeshifter Riolobo, who interacts with passengers while appealing to the spirits of the Amazon. Zulimar López-Hernández makes a worthy Nashville Opera debut as a young journalist named Rosalba. And Javier Abreu lends his beautiful tenor to the role of Arcadio, a young man soon smitten with Rosalba.
Barry Steele’s video and lighting design (coupled with Cara Schneider’s scenic portal) offers a brilliant blend of the literal and the fanciful, with detailed projections capturing everything from lush greenery to psychedelic butterflies. Pam Lisenby’s lovely costumes complete the picture. And conducted by Dean Williamson, the Nashville Opera Orchestra brings Catán’s lyrical score to life with aplomb.
Don’t miss this unusual operatic voyage!
If you go
What: Nashville Opera presents “Florencia en el Amazonas” (sung in Spanish with projected English translations)
When: 8 p.m., Friday (Jan. 23); 2 p.m. Sunday (Jan. 25) and 7 p.m. Tuesday (Jan. 27). Artistic Director John Hoomes leads the free Opera Insights preview one hour prior to each performance in the theater.
Where: TPAC’s James K. Polk Theater, 505 Deaderick St., Nashville
Tickets: Starting at $26
Contact: nashvilleopera.org or tpac.org