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.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
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.