13 Mar 2007
Native-American Drama at Opera Omaha
Perhaps the gestation period for “Wakonda’s Dream,” premiered by Opera Omaha on March 7, was too long.
Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.
Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.
‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.
The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.
Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.
In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.
High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.
The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.
‘Only make the reader’s general vision of evil intense enough and his own experience, his own imagination, his own sympathy will supply him quite sufficiently with all the particulars.
It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?
Perhaps the gestation period for “Wakonda’s Dream,” premiered by Opera Omaha on March 7, was too long.
Rossini, employing the formulae of his day, could dash off a new work in a week or two; the collective responsible for “Wakonda” - composer Andrew Davis, librettist Yusef Komunyakaa, director Rhoda Levine and OC general director Joan Desens - began their brain storming in 2002. “Wakonda” was five years in the making.
Originally focused on the 1879 trial of Ponca Chief Standing Bear, the story changed into a “meditation” - to use Davis’ designation - on the court decision that first recognized the rights of Native Americans. (They were not granted citizenship until 1948.) In its many meetings the collective decided upon a family drama set in the present, heavy with the dreams - and nightmares - faced still today by Native Americans.
Standing Bear - now positioned among the chorus at stage rear - has become a reference point for two generations intent upon keeping “their feet on the path” while finding “a place beyond shame and sorrow.” And although Louisiana-born Komunyakaa, the Pulitzer prize winner noted for his writing on the Vietnam war and now a professor at Princeton, feels that he delivered a “straightforward narrative,” he also wanted to tell a story that goes “beyond history.”
A plethora of problems has found its way into the opera: the kids- even Native-American kids - playing “Cowboys and Indians” all want to be Cowboys, and there’s discrimination and alcoholism. Budding romance between a young Indian and white girl Laura leads an irate father to threaten violence. It’s more than can be handled comfortably in a two-hour work, and thus it’s not surprising that “Wakonda’s Dream” ends a bit up in the air. Davis and his colleagues might have done better to keep the focus on the trial that made Standing Bear a legend.
Davis’ creative concern with racism brought him early fame with his widely praised “Malcolm X” (1986) and “Amistad” (1997). Yet one understands his hesitation to compose yet another trial after the courtroom scene at the center of “Amistad.” The changed plot stresses the continuing dilemma of Native Americans, for whom “the past is one long death march to nowhere.”
Blue-collar Justin Labelle (Eugene Perry) dreams of a better life for his son Jason (William Ferguson). But in an alcoholic haze, confused by the spirit of the trickster Coyote, the father shoots - and kills - his son. It’s a tragic tale, and on the heels of this murder the consolation of the finale - even with the American Indian Dance Theater on stage for the ceremonial dance that returns Justin to his tribe - seems a facile resolution of the many problems involved.
Davis is a gifted craftsman and has done is utmost to tailor a score suited to the subject matter at hand. Indeed, in the first act he has perhaps gone too far in giving primacy to words over music, for here he largely restricts himself to the illustration of narrative. One anticipates - but waits in vain - for an outburst of melody in an aria or duet.
The score is more engaging in the conflicts and confrontations of the second act - especially in the meeting between Jason and Standing Bear that is at the heart of the story. Davis has written music of particular strength and beauty for the chorus that sits with immobile dignity in an arc at the back of the stage throughout the opera.
He faced a major challenge in writing a score “that lets the audience in,” that brings emotional weight to the experience of the story by causing the listener to identify with the characters on stage. The opera opens with a “soundscape,” recorded sounds of Nebraska nature that fill the Orpheum before giving way to instrumental voices. Davis weaves jazz and folk motifs, along with Native-American hip-hop, into a score that keeps the listener alert. And Opera Omaha has assembled a strong cast for the staging. In addition to Perry and Ferguson and Ricker, Phyllis Pancella is a lovingly concerned wife and mother, while Arnold Rawls portrays a regal Standing Bear. Kids Lilly Nunn and Jonah Davis excel as central figures in childhood.
Peter Harrison designed a single set that evokes an inner landscape of desolation. Costumes were by Paul Tazewell; lighting by Stephen Strawbridge. Steward Robertson conducted an enlarged chamber ensemble drawn from the Omaha Symphony.
Opera Omaha made the work the center piece of a month-long festival of outreach events designed to provide the community with background on this chapter of early Nebraska history. This, in turn, no doubt accounted in part for the many Native Americans in the opening-night audience.
“Wakonda’s Dream” joins such earlier operatic “meditations” on the fate of America’s natives David Carlson’s “Dreamkeepers” (Utah Opera, 1996) and Henry Mollicone’s “Coyote Tales” (Kansas City Lyric Opera, 1998) as an admirable endeavor to focus attention on a dreadful heritage. Whether it moves beyond Omaha remains to be seen. Before the March 7 premiere Rufus White, a spiritual leader of the Omaha Nation, blessed the cast of the production.