09 Jun 2012
Nixon in China, San Francisco
John Adams’ Nixon in China is an amazing, riveting piece of music, and compelling theater to boot.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
John Adams’ Nixon in China is an amazing, riveting piece of music, and compelling theater to boot.
It was an uncanny fit in the War Memorial opera house, our residual banking and energy tycoons superimposed onto our tech billionaires, the old guard and the young Turks all sitting there in our stodgy old opera house mesmerized by a brash young opera (well, young relative to our 400 year old repertory).
Not to mention Nixon and Mao, Pat and Chiang Ch’ing, Henry and Chou. How many ways could composer Adams find to make two against three, four against three, everything over anything go together and not go together during the three fleet hours it took a virtuoso orchestra to navigate this treacherous score?
Over this but more so within this score lies Alice Goodman’s libretto that juxtaposes mind-boggling and mind-numbing banalities with metaphors of grace and intelligence and flights of lyricism that float in and out of comprehension and are the motor of the mind-bogglingly richness of energy and color, ebb and swell, the sure sonic embodiment of one of the more bizarre moments of human history. And finally what it means. This seems to be found in a few tiny moments of personal reminiscences that are nothing and everything.
Nixon in China is a masterpiece, and if you did not know what theory of binary opposition is at least now you know what it feels like.
Of course there is the back story of the West once again discovering the East, though it dims as time goes on. It is history that will be vaguely known by few of the new generation of opera goers. What really was is no longer of concern to this opera that seems to have joined Simon Boccanegra in the core repertory (36 productions worldwide in its 25 years of existence). Nixon in China is now an operatically consecrated human document, not an historical document.
Like Verdi, Adams knows that politics are loud, and Nixon in China was plenty loud, belying its relatively modest resources — only double or triple winds and a reduced string contingent. But Adams adds a chorus of saxophones to traverse musical prerogatives, plus some rare sharp percussive sounds to throw listener sensibilities off-balance. It was already the digital age back in 1987 so there is a synthesizer, and there is electronic manipulation of all natural instrumental and vocal sound. Get it? — Adams’ amplifies his voices and orchestra!
He is thereby able to insert Wagner’s apocalyptic resolution into Madame Mao’s ballet with a richness maybe known only by 110 players in Bayreuth. Luckily next up this spring is Verdi’s Attila with Maestro Luisotti so there should not be too much of a sonic letdown.
Masterminding this cold war götterdämmerung was Dutch conductor Lawrence Renes who imposed a sense of rhythmic precision that immediately gripped and never flagged over the duration, evoking sounds that made the excitement of space exploration in the late twentieth century as alive and provocative as its accompanying politics. It was masterful conducting.
Simon O’Neill as Mao Tse-tung; Ginger Costa-Jackson, Buffy Baggott and Nicole Birkland as Mao’s secretaries; and Brian Mulligan as Richard Nixon
It was a cast of singers rather than singing actors. Some voices were larger than others, but with the help of sensitive sound design (amplification) all of these fine and beautiful voices melded magically with the sonorities created in the pit to create opera that was pleasing rather than provocative.
San Francisco Opera regular Brian Mulligan effected a fairly reasonable profile as Richard Nixon but captured nothing of the charisma of such a political personality. Tenor Simon O’Neill achieved a Mao of effective proportion though without messianic sense. Both soprano Maria Kanyova and baritone Chen-Ye Yuan are making a sizable careers as Pat Nixon and Chou En-lai having already performed the roles in many productions around the country. Mr. Yuan brings particular sensitivity and solidity to Chou En-lai. Patrick Carfizzi did not find a persona as Henry Kissinger though he provided good fun. Watch soprano Hye Jung Lee sing Madame Mao’s aria on YouTube, www.youtube.com/watch?v=IwHxvRJ_vPMto, to understand why she got the role even though she is way too young.
As in the recent production of The Death of Klinghoffer at the English National Opera the biggest and finest moments of lyric transport occurred not vocally but in dance. The relentless obscurity of the Alice Goodman libretto suspended, Adams unfettered by need to support vocal line, music and movement united to become one in the plight of the poor peasant girl, splendidly danced en point by ballerina Chirharu Shibata to the choreography of Wen Wei Wang, supported by her savior, dancer Bryan Ketron.
Patrick Carfizzi as Henry Kissinger, Maria Kanyova as Pat Nixon, Brian Mulligan as Richard Nixon, Simon O’Neill as Mao Tse-tung, Hye Jung Lee as Madame Mao and Chen-Ye Yuan as Chou En-lai
The performance was an un-nerving experience, exacerbated by the absence of its primary creator, Peter Sellers. It was after all his idea. It is inexplicable why San Francisco Opera eschewed the genius of this major American director for its premiere of one of the most important operas of the twentieth century.
As it was San Francisco Opera opted for a production from Vancouver Opera that most recently visited Kansas City. It is a fine, good looking production of theatrical savvy by Canadian director Michael Cavanagh. It is straightforward and workmanlike. It did not approach the opposites of the abstract, structuralist theatrical world of Sellers, Goodman and Adams.