Photo: Jonathan Collins

As someone new to the world of opera, I was not entirely sure what to expect as I attended Opera Idaho’s production of Thaïs at the Egyptian Theatre in Boise, but over the course of the ensuing 2.5 hours, I was truly captivated by the performance of not just the vocalists but the dancers, orchestra, and even a live snake!

The opera focuses on the story of the monk Athanaël and the courtesan Thaïs as the former determines it is his divine purpose to save the latter’s soul by convincing her to repent and forgo her worldly desires and possessions. As the opera progresses, we find that his actions are more personally motivated than he believes.

As mentioned previously, I am someone that is completely new to the opera scene with no prior knowledge of Thaïs. So, wasn’t sure how to initially react as Act I began and I realized was sung in French! Thankfully translation supertitles were provided above the stage so that I could understand what was being sung. Even though the performance took place in a language of which I knew very little, it did not take away from the immediate attention-grabbing introduction of Athanaël (portrayed by Daniel Scofielm, baritone) in the huts of the Cenobite monks. Athanaël has returned from the city of Alexandria after having seen the levels of depravity that the city has fallen to, and he decides that he must return again to Alexandria and save the soul of the city’s most popular courtesan, Thaïs (portrayed by Amy Shoremount-Obra, soprano). Scofielm’s voice immediately took control of the room, a baritone that projected across the theater and demanded notice. Any time he was on stage his voice would draw my attention.

Partway through Act I, we are introduced to Nicias (portrayed by Cody Laun, tenor). While his voice did not command the same amount of attention as Scofielm, the way in which he physically portrayed the character was spot on in my mind. His ability to make me feel as if he truly was a man of wealth and excess without a care in the world was something that further engrossed me. He sauntered — and even at one-point (in Act II) crawled across the floor — on the stage in ways that truly fit the description of the character he is portraying. Alongside Laun’s Nicias we are also introduced to Myrtale (Jordan Bowman, soprano) and Crobyle (Christina Mancheni, soprano) who both played into the parts as compatriots to Nicias in his excess and free flowing way of life.

Photo: Jonathan Collins

Act I also introduces the titular character, Thaïs, and Shoremount-Obra’s soprano voice played well as the foil to Scofielm’s baritone. Her higher register commanded attention just as equally, if not more so than, any other voice throughout the performance. Her entrance, and the cast members reaction to it, truly give off the feeling of a person that is coveted, almost obsessively, by those around her in Alexandria. Her character’s mocking of Athanaël at the end of Act I began to bring out what seemed to be his true feelings towards Thaïs — feelings that bend more towards conquest than salvation.

Act II advances the story, giving us Shoremount-Obra’s first aria of the performance. A captivating reveal that shows she laments over the things she has yearned for in the past (luxury, adulation, etc) are no longer as fulfilling as they once were. She searches for the reassurance of her god, Venus, but doubt has already taken root within her. Athanaël appears in her room, uninvited, and we see their first private encounter. The contrast of Shroemount-Obra’s and Scofielm’s voices highlighted each other well.

As Act II continues, we are given a ballet performance by dancers from Ballet Idaho during the “Meditation” from a talented cast of dancers. It added an element of quiet emotion and reflection that I was not prepared for, or expecting, in the middle of the Act. The conducting of Andy Anderson drew me in as much as the ballet dancers on the stage during these moments and highlighted not only the talent of the orchestra, but also the ballerinas.

This was not the only surprise in store for both me, and the other audience members, as I would come to find out; almost halfway through Act II we were introduced to a scene in which Nicias throws a party complete with dancers to perform for and catch the eye of Thaïs. As the scene plays out, a dancer is introduced from off stage, entering the fray with a large albino Burmese python draped around her shoulders! While his time on the stage was short, Neil (the Burmese python), draws attention immediately and holds it as he and his dancing partner perform across the stage.

Photo: Jonathan Collins

While the scene itself, especially the belly dance-esque performance playing out, is anything but docile, the snake remained calm around the shoulders and arms of the performer. At times the dance would bring the snakes face so close to her own I would hold my breath for a moment expecting to see someone be bitten — but to my relief, and enjoyment, neither animal nor performer was hurt during the scene. As the dance continues, the snake is passed back to a background character (his trainer) and while they stay on stage for a few minutes afterwards interacting with Nicias, they both eventually exit the stage as the dance continues.

Act III gives us more one-on-one interaction between Thaïs and Athanäel to deepen their relationship. As they trek across the desert to reach the tabernacle where Thaïs will stay to repent and begin a new way of life, they speak of the type of love which Athanaël promises she will find once she has left all her sinful ways behind. After reaching the tabernacle and going their separate ways, we see that the façade that Athanaël has kept up has begun to crack.

In the final scenes we see that Athanaël has returned to the Cenobite huts but he has not eaten or drank since his return. He comes to grips with the fact that he lusts for, and is obsessed with, Thaïs. As he is informed that Thaïs is about to die, he rushes back to the tabernacle only to find out he is too late. In the final moments of the performance we see Shoremount-Obra’s Thaïs standing on an elevated platform/treethat has played center piece throughout the play ascending to Heaven. While she is joyous at the sight of Athanäel, he attempts to tell her to stay alive. He forsakes his former beliefs in the beauty of heaven, admitting that the only beauty he now desires and sees is that of Thaïs. Both portray the emotions each of their characters is experiencing in a way that had me fully drawn to the moment.

All in all, I was captivated and impressed by Thaïs as my first experience with an opera performance. Opera Idaho and the Ballet Idaho created an experience for me that I will not soon forget and the singers were well-chosen for both their vocal performances and the physical portrayals of the characters. The ballet performances offered times of both reflection and beauty during Act II and of course I would be remiss if I did not say that I truly enjoyed the inclusion of a live animal within the scenes. As someone who has now finally experienced the world of opera through this wonderful performance, I know I will return to continue to explore the many experiences it has to offer.