There are some times I wish I had a private jet I could simply go to the airport and use at will, and this is one of those times. Patrick Morganelli’s superb new opera, Hercules vs. Vampires, is playing at the LA Opera House tomorrow and Sunday, and that’s it. By clicking on the image above, you can go to the LA Opera’s site for the production, which features a snippet of video, and a section of the work, which sounds, as Morganelli intended, very much like something influenced by Ravel and Debussy – brilliantly performed.
Bava’s film, featuring the haunting image of a young Christopher Lee (on the screen above) is a masterwork of Italian 60s atmospheric fantasy. Morganelli’s score lifts both the narrative and the images to an entirely new level, and the reviews thus far have been raves. My good friend Dennis Coleman, who lives in Los Angeles, saw the production, and gave it very high marks – and I believe him. This is an inspired “mash-up” of cinema and classical music, performed by some of the brightest talents in the world of opera working today.
As the LA Opera’s web site notes, “buckle your seat belts for our most offbeat presentation ever! Hercules vs. Vampires combines opera and midcentury pop culture, synchronizing live music with cult fantasy film Hercules in the Haunted World, a 1961 sword-and-sandal epic starring bodybuilder Reg Park. When the actors projected on the silver screen open their mouths to speak, the audience will hear their lines sung by our cast of singers from the Domingo-Colburn-Stein Young Artist Program, accompanied by a 26-piece orchestra.
Directed by the great Italian filmmaker Mario Bava, the film itself is fantastic in every sense of the term, swaddled in glorious early-1960s Technicolor. Action-packed and wildly operatic in scope, the film follows Hercules on a heroic journey to rescue his beloved from a fiendish mastermind of terror (played onscreen by horror legend Christopher Lee). Fresh and full of fun, an atmospheric new operatic score by L.A.-based composer Patrick Morganelli provides the perfect accompaniment to Bava’s gorgeously gaudy world.”
As composer Morganelli told Michelle Lanz in The Frame, “one of the amazing things about Mario Bava was that because he was originally a cinematographer, he had an amazing sense of how to light a scene, how to frame it…when he stepped up to become a director he was really able to bring this visual sense to it. Specifically what we see in this particular film is he shot it in anamorphic widescreen, which of course looks spectacular for a low-budget film like that. The color composition of it, and in particular roughly a third of the film takes place in Hades. The scenes in Hades are beyond belief.
I stuck as close as I could to the story of the film. I didn’t want to start doing things that were going to not really make sense with the picture. The difficulty there is that in taking film dialogue and creating an operatic libretto out of it, you have not only artistic issues of how do you condense everything into fewer words, but artistically they have to be words that are singable when you put all that together and then try and match that up with the actual mouth movements of the screen — it was technically quite difficult.” But the results, it seems, are spectacular.