Philip Glass is an old hand at scoring films. His 1994 work with Jean Cocteau’s superb “La Belle et La Bête” (1946) is the second of a Cocteau trilogy including “Orphée” and “Les Enfants Terribles.”
At Glass’ invitation, Opera Paralèlle directors Brian Staufenbiel and Nicole Paiement created a new multimedia production of the work, presented by Cal Performances in Berkeley’s Zellerbach Hall over the weekend.
In Glass’ most surreal sound project to date, the production, directed by Staufenbiel, includes live opera action, an elaborate stage design and a great deal of added film footage. Paiement conducts the musicians with her usual elegance and verve.
Everyone knows some version of “Beauty and the Beast.” Glass’ opera score replaces the film’s soundtrack here; the audience watches the film while four singers (in French, with English subtitles) and a chamber ensemble of eight perform live.
The minimalist music, full of Glass’ pulsing phrases and rolling arpeggios, doesn’t specifically address the characters: the sweet, loyal Belle; the kind-hearted Beast who loves her, the aged father who gets them in trouble by picking a rose for her in the Beast’s garden; Belle’s spiteful sisters and her vain suitor.
Instrumental action scenes get the most lavish musical colors; for example, when Belle rides a shining white mare to the Beast’s castle and when her father approaches the castle entry, which is lit by arms bearing candelabra and smiling faces embedded in carved walls.
The synchronization of screen and stage works well enough; when it’s less than perfect, the daring quality of the vocal and instrumental writing is enhanced.
The singing cast, sometimes hidden from view, other times doubling the action of the film in full costume, is first-rate. Hadleigh Adams sings multiple roles; his baritone took on a wonderfully gruff, textured sound for the Beast. He is well-matched by soprano Chea Kang, in bright, secure voice portraying Belle. Aurelien Mangwa is the tender-voiced father, and Sophie Delphis adds spice to the roles of Belle’s spiteful sisters.
Media designer David Murakami added footage, effectively fashioned to appear vintage, into the film. And while the magical last minutes of the film, with its true heartbreak moment revealing Belle’s love for the Beast and her somewhat reluctant response to the Prince was replaced — (and missed) — all in all, this “La Belle et La Bête” was a highly engaging performance.
Opera Parallèle hosts a fundraiser dinner on March 26 at San Francisco’s City Club, and premieres a new version of “Doubt,” adapted from John Patrick Shanley’s film and Pulitzer Prize-winning play, with a contemporary opera score by Douglas J. Cuomo, on May 29-31 at the Presidio Theatre, 99 Moraga Ave., San Francisco. Visit operaparallele.org.