Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

OPERA TODAY ARCHIVES »

Performances

Zheng Cao (Ruth Young Kamen) [Photo by Terrence McCarthy]
06 Oct 2008

On The Bonesetter’s Daughter

Decades ago a New Yorker cartoon showed a very little girl standing on tip-toe to return a book to a matronly librarian.

Stewart Wallace: The Bonesetter’s Daughter

Ruth Young Kamen (Zheng Cao), Luling Liu Young (Ning Liang), Precious Auntie (Qian Yi), Chang the Coffin Maker (Hao Jiang Tian), Taoist Priest (Wu Tong), Art Kamen (James Maddalena), Arlene Kamen (Catherine Cook), Marty Kamen (Valery Portnov), Dory Kamen (Madelaine Matej), Fia Kamen (Rose Frazier), Chang's First Wife (Mary Finch), Chang's Second Wife (Natasha Ramirez Leland), Chang's Third Wife (Erin Neff), Acrobats (Dalian Acrobatic Troupe), Suona (Wu Tong / Zuo Jicheng). San Francisco Opera. Conductor: Steven Sloane. Director: Chen Shi-Zheng. Set Designer: Walt Spangler.

Above: Zheng Cao as Ruth Young Kamen

All photos by Terrence McCarthy courtesy of San Francisco Opera

 

“The trouble with this book,” said the little girl, “is that it told me more about penguins than I really wanted to know.” The cartoon comes to mind as I assemble thoughts on The Bonesetter’s Daughter, the opera by Stewart Wallace and Amy Tan that premiered at the San Francisco Opera in September.

I jest, of course, for I am grateful for the immense amount of information at my disposal about the new work that I saw at its third performance in the War Memorial Opera House on September 25. My “homework” began with Tan’s bestselling 2004 novel, from which the author extracted the libretto for Bonesetter’s Daughter. It’s a large book — and a good one, and I wish that everyone would read it before seeing the opera. This is not to say that the opera is a series of sins of omission, for Tan has ably done what must always be done in reducing a big book to a libretto. She has worked with Wallace to create a work that, while new, is faithful to the novel.

She has, above all, preserved the truth of the book, the truth that unites three generations of Chinese women so seamlessly that they function at times as a single individual.

These are the things
These are the things I know
These are the things I know are true.

With those lines daughter Ruth, ageing mother LuLing and Precious Auntie, a ghost from an earlier China, open the score. They return in the course of the work.

Ruth_LuLing.pngZheng Cao (Ruth Young Kamen) & Ning Liang (LuLing Liu Young)

Reducing a novel to a libretto is an act of creative transformation, and the challenge differs with each work. I think, for example, of Ricky Ian Gordon’s Grapes of Wrath, premiered two seasons ago by Minnesota Opera. The Steinbeck classic, I thought, would defy such transformation. Wendell Korie, however, caught the epic sweep of the novel in his libretto. Korie, Wallace’s librettist for Harvey Milk, offered extensive advice to the creative team of Bonesetter’s Daughter.

Rather than generalizing about the process of transformation, a comparison of the task at hand says more about both operas. Korie had an easier job, for Grapes has essentially a group hero — the Joads — and Steinbeck follows them for a relatively brief time on their journey from Dust-Bowl Oklahoma to the — they hoped — greener pastures of California. The narrative line is simpler — and straighter.

ActI_Scene.pngJames Maddalena (Art Kamen), Rose Frazier (Fia Kamen), Zheng Cao (Ruth Young Kamen), Ning Liang (LuLing Liu Young), Madelaine Matej (Dory Kamen), Valery Portnov (Marty Kamen), Catherine Cook (Arlene Kamen), Qian Yi (Precious Auntie)

Tan’s story extends over the better part of a century and moves from America to China, whence this family came in the years after World War Two. Much disappears from Tan’s novel on the way to the opera stage. Only those who know something of the horrors of Mao’s Cultural Revolution will respond to mention of that age of repression in the libretto. And what American knows enough about calligraphy to appreciate what was involved in making ink for this ancient craft? This was the business of Precious Auntie’s family in China.

But back to reading. I am grateful that Ken Smith has documented the genesis of the new opera in Fate! Luck! Chance! Amy Tan, Stewart Wallace, and the Making of ‘The Bonesetter’s Daughter’ Opera (San Francisco, 2008. $24.95). Smith, long a respected music critic, has, with wife Joanna Lee, become the major mediator between American and Chinese music in this age of cultural cross-pollination. His book — rich in photos — records a creative process largely unique to opera, for Bonesetter’s Daughter is the product of a collective headed by Tan and Wallace that included director/choreographer Chen Shi-Zheng and the several musicians whom the two came to know on their several trips to China. Indeed, as I read about the many influences upon the work during the three years of its genesis I began to fear a collage of cultural fragments lacking specific identity. Happily, Bonesetter’s Daughter is anything but, and that is due largely to Wallace’s ability to assimilate what he experienced and express it in a voice that is totally his own.

Chang_Coffinmaker.pngHao Jiang Tian (Chang the Coffinmaker)

A Chinese-American opera; an American-Chinese opera? Just what is the work? It is decidedly American, and in Smith’s book Wallace defines his idiom in recalling his effort “to write music in my own language that felt Chinese without sounding ersatz Chinese.” He explains further: “You can hear this in the timbre and texture, but also in terms of the space between the notes that lets the music resonate with a sense of ritual.” That says it all and accounts for the newness — for the freshness and transparency of the score.

At 2 hours and 40 minutes, Bonesetter’s Daughter is nonetheless an engagingly intimate work exuberant in emotion. I felt at the end that it is a good work, not great perhaps, but good in its human authenticity.

Fate! Luck! Chance!, a documentary on the making of the opera, will be shown on public television in early 2009. Smith’s book includes the complete libretto of Bonesetter’s Daughter.

Wes Blomster

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):