Opera Siam recently presented “Das Jati,” a series of highlights from Somtow Sucharitkul’s epic 10-opera series “Ten Lives of the Buddha,” in the Main Hall of the Thailand Cultural Centre.
With two dance companies and a cast of 87 singers and actors from 20 countries, I was excited to see what would unfold. This production represents a huge undertaking by the newly rejuvenated Opera Siam, founded and directed by National Artist of Thailand Somtow Sucharitkul, who also composed the entire series in this musical drama. After 65 productions since 2001, Opera Siam has had a post-Covid hiatus and this production is their first return to the Bangkok stage.
The Jati was founded by the London opera Magazine. A complete performance lasts more than 16 hours over a period of five days – yes, it is bigger than Wagner’s Ring cycle. It has taken 25 years to compose (so far), and it is estimated that the work will be completed in about another three years.
The 10 scenes, drawn from all 10 operas, were spectacular and varied. With 38 soloists and Maestro Voraprach (Mickey) Wongsathapornpat at the helm of the Siam Sinfonietta Orchestra, there was an obvious sense of excitement throughout the theatre. This music is lush, modern and at times layered – and provided many unexpected and exciting musical moments throughout the performance.
The overture is traditional and operatic, and the orchestra was in brilliant form, following every cue and nuance. Siam Sinfonietta is a youth orchestra, but it doesn’t sound like one. Its years of experience touring in places like Carnegie Hall and its many film appearances, including the Oscar-nominated targive him a feeling of security and confidence. The odd disturbance did not detract from the delicious, floating tone, which provided the necessary foundation for all the performers.
The drama began with the temptation scene from The Silent Prince. With a wonderfully menacing and steely, focused tone, American bass David Salsbery Fry set the scene, pulling the audience along with each perfectly articulated vocal line. His work as lead bass, playing four different and entirely different roles, was a highlight of the evening for many, myself included.
When I heard American soprano Stacey Tappan open her voice to tell this story, first as Mekhala – she played five different roles – the audience’s jaws dropped as she took the house by storm with a perfectly round tone, light upper register and crystal clear English diction, floating brilliantly above the orchestra. Her voice filled the 1,600-seat hall with great presence and clarity, as befits her, as she regularly performs at the Met, Chicago Lyric Opera and San Francisco Opera.
With 10 fully staged scenes, there is no way to analyze the entire evening, but other outstanding performers included Malaysian baritone John Tneoh, Thai sopranos Nadlada Thamtanakom and Sassaya Chavalit, and Thai baritone Jorn Yasavudhi.
Choreographers Darren Royston and Siripong Soontronsanor provided brilliant storytelling through movement, adding even more tension to the score.
Although there were moments of stage chaos and somewhat inconsistent sound quality, the choir, under the direction of the capable Madeleine Sophia Lullalit Supratravanij, offered us a pleasant performance throughout the evening.
