Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Adriana Lecouvreur Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

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.

Schoenberg : Moses und Aron, Welsh National Opera, London

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.

Rossini is Alive and Well and Living in Iowa

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.

Gergiev : Janáček Glagolitic Mass, BBC Proms

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.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

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.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

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.

Il turco in Italia at the Aix Festival

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.

First Night of the BBC Proms : Elgar The Kingdom

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.

Le nozze di Figaro, Munich

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.

Winterreise and Trauernacht at the Aix Festival

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.

James Gilchrist at Wigmore Hall

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: Improvisations on Henry Purcell

‘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.

Nabucco at Orange

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.

Saint Louis: A Hit is a Hit is a Hit

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.

La Flûte Enchantée (2e Acte)
at the Aix Festival

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.

Ariodante at the Aix Festival

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.

Lucy Crowe, Wigmore Hall

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.

The Turn of the Screw, Holland Park

‘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.

Plenty of Va-Va-Vroom: La Fille du Regiment, Iford

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?

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):