04 May 2008
Ned Rorem's Our Town
Martha Graham used to say, “In order for there to be dance, there must be something that needs to be danced.”
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
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800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.
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One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
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As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!
Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
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As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.
Martha Graham used to say, “In order for there to be dance, there must be something that needs to be danced.”
This occurred to me while attending Ned Rorem’s spare, elegant, uninteresting full-length opera (his first after a lifetime composing nearly every other sort of thing) derived from Thornton Wilder’s Our Town, a play as rooted in the poetry of the ordinary (pre-World War I New England variety) as the operatic form seems calculated to enhance and transcend it. Mr. Rorem himself has said that when he first took on this project (here receiving its New York premiere — the world premiere took place two years ago) he pondered whether Our Town called for operatic treatment, and whether he was the man to set it. My guess is the answers in both cases are clearly negative, but he blithely went right ahead.
Is there anything in Our Town, a play in which God is the most prosaic of stage managers (agnostic to boot, as Wilder was), and death is restfully preferable to even the pleasantest sort of living, that could be enhanced by song? Perhaps — but not the sort of song Mr. Rorem has provided, the through-composed recitative of mid-twentieth-century opera without those embarrassing tune thingies that bear unfortunate comparison with weak Broadway musicals. When Mr. Rorem requires a real tune — a hymn for the burial of Emily, his heroine, say, or her wedding march — what we get is a traditional hymn sung against ironic orchestral discords, or a few bars of Mendelssohn — because Mr. Rorem can’t really be trusted (by his librettist, J.D. McClatchy, or by himself, evidently) to come up with anything that would conjure the notion of “hymn” or “wedding march” on his own bat. The dialogue of the opera — or should I say play? — is offered without emotion either because the play does not call for much of it or because the idiom in use does not. (I wasn’t sure.) The most appealing and interesting portions of Mr. Rorem’s contribution were the few — very few — times he allowed more than one person to sing together: a trio of taunting baseball players calling “George!” when the hero pays too much attention to the girl he is sweet on, or the chorale of the dead that opens Act II. Otherwise, there isn’t much here here. If you’re going to make an opera, you really ought to let people let loose to sing a bit.
We do get singable vocal lines — after half a century producing beloved art songs, there isn’t much about writing graciously for the voice that Mr. Rorem does not know. It can’t be an accident that the large cast of Juilliard students with a considerable and varied level of experience all sounded able and grateful. The opera gives each one his or her moment — which no doubt will win it a future in the repertory of music schools if nowhere else. That’s too bad if it gets in the way of productions of better works for large casts, such as The Mother of Us All or The Ballad of Baby Doe.
The Mother of Us All gives us a hint about what went wrong in Our Town: Thomson took Gertrude Stein’s text, as he had the earlier Four Saints in Three Acts, and set it just as he found it, using the hymn tune background of his Missouri upbringing to create a nostalgic rather than referential score, full of original flavor. Rorem, though he comes from the same part of the country and, like Thomson, was educated in Paris by Nadia Boulanger, has self-consciously divorced himself from Americana and can find no way to link back to it. His hymn is not a charming in-the-style-of, but an intrusion. Nothing downhome permeates the background here. As for the play, it is typical of the libretto that the witty sidelong touches, geological and statistical “newsbreaks” quoted by one character or another, find no answering wit in Rorem’s music — they appear only in the surtitles. If the opera were produced without them, they’d have to go. Wilder’s balance of the quotidian with the eternal is unsprung, here and elsewhere. McClatchy and Rorem simply did not trust their material. Or (very likely) Our Town is a play requiring no song at all — it’s got its own, as much as it could ever need.
It was difficult not to compare Our Town to another American opera I’d seen recently: Philip Glass’s Satyagraha. Did this stage work respond adequately to, or even explicate, Mahatma Gandhi’s philosophy? There’s no way for me, only vaguely familiar with that philosophy or that life, to judge, but what Satyagraha did do was concoct so pleasing a musical language for that life that audiences are drawn to contemplate its meaning and achievement, both of which are undoubtedly worthy of operatic grandiloquence — rather the way Stein and Thomson meditated on Susan B. Anthony’s achievement in The Mother of Us All. Our Town may or may not deserve musicalization on some level, but the musical language Rorem has provided is inadequate to draw us in, to make us think the question worth resolving. We simply don’t want to spend time with this music. We’d rather hear Mendelssohn straight.
The expert Juilliard cast was led by Jennifer Zetlan, who sang Emily at the premiere, whose unsettlingly bright smile when she meets the other dead folks in the graveyard was presumably approved by the composer, and whose big bright soprano seems destined to fill larger houses in the very near future. I especially liked the voice and poise of Jessica Klein as Mrs. Gibbs and Julie Boulianne as a nosey neighbor, Marc Webster and David McFerrin as the two fathers (both given charming, self-involved monologues), and Alex Mansoori’s regal calm as the almighty Stage Manager. If there was an unappealing voice in all the large cast, it passed me completely. Now if only they’d been singing something that needed to be sung.