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.
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
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.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
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.
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.
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.
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.
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.
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.