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.
Thomas Larcher’s Second Symphony (written 2015-16) here received its United Kingdom premiere, its first performance having been given by the Vienna Philharmonic and Semyon Bychkov in June this year. A commission from the Austrian National Bank for its bicentenary, it is nevertheless not a celebratory work, instead commemorating those refugees who have met their deaths in the Mediterranean Sea, ‘expressing grief over those who have died and outrage at the misanthropy at home in Austria and elsewhere’.
One of the initiatives for the community at the Lucerne Festival is the ‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber music to orchestral rehearsals.
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly bewildering Lucia di Lammermoor; then Thilo Reinhardt’s thrilling Tosca. His staging was pure operatic joy with some Hitchcockian provocations.
Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at ’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
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.