The time is coming when a systematic review of compositional projects originating during the COVID-19 pandemic might profitably be undertaken. Often, pandemic isolation forced composers to think in chamber terms, and so it is here with the one-act opera
La Flambeau by composer
David Bontemps, based on a play by
Faubert Bolivar. Both the composer and the playwright are of Haitian origin, and the work marks something of a milestone for the representation of Black Canadians in opera. The work has a compelling, stripped-down kind of dramatic effectiveness. There are just four characters, in a setting that is not explicitly specified as Haiti but is a society in which Afro-Caribbean spirituality flourishes. The male lead, simply called Monsieur, is a pompous intellectual at work on a speech. His wife, Madame, interacts with the couple's housekeeper, Mademoiselle, who is raped by Monsieur; Monsieur is judged by a fourth figure, L'Homme, a representative of the Yoruba spirit world, and turned into a zombie in the end. The story is rendered by
Bontemps with great economy of means. The music is tonal, with a natural fusion of dialogue and expressive melodic elements.
Bontemps includes Caribbean elements, most notably a pair of maracas, but does not overplay the Haitian element, which is all the more powerful as a result. There is a sparse 16-member chamber orchestra, made up of members of the
Orchestre classique de Montréal carefully controlled by conductor
Alain Trudel. The singers are dramatically involved, and although physical buyers will get a complete libretto in the booklet, it may not be necessary for French speakers; the language and diction are clear and persuasive. This recording from the
ATMA Classique label is especially recommended to chamber opera presenters; it is likely to succeed in metropolitan France and perhaps even in the anglophone world. ~ James Manheim