Minorities Dominate Upcoming Opera Seasons

 Minorities Feature Prominently in Upcoming New Operas

Contemporary operas can be an ordeal to sit through. Composers are pressured to offer some new and groundbreaking concept, which usually means hard-to-like music, black-and-white scenography, and absolute absence of tradition. Melody is anathema. A few years ago, I came to Jake Heggie’s Dead Man Walking at the Washington National Opera almost directly from the world premiere of La Ciudad de las Mentiras (City of Lies) in Madrid. While Heggie’s opera leaned toward traditional, Elena Mendoza’s opus at Teatro Real in Spain’s capital, bore all the characteristics of a modern work.

 

 

La Ciudad de las Mentiras, Teatro Real, Madrid, 2017, photo: Z. Hoke

Mendoza used four stories by Juan Carlos Onetti to explore theatrical and perhaps some musical possibilities, but her sopranos, tenors and baritones never sang. They recited lines from the stories so intertwined that only those familiar with Onetti's work could hope to understand what was going on. The English language surtitles kept the uninitiated out of a complete fog, and a written introduction gave some clarification, but I had to agree with a co-spectator who argued that if a work of art needs so much explanation, it is not a good work of art. If Mendoza's singers did not sing, neither did the musicians played much music. At one point a man appeared on the stage with an accordion only to tap his hand on it a couple of times. An actor portraying a bartender scratched a metal tray with a knife, a piano player hit the keyboard a couple of times and the orchestra produced some "atmospheric" sound, sort of like a distant wind howling. Overall, it was an interesting, innovative stage production, but it was not what an average person would call an opera. 

 

That word typically conjures images of Figaro, Carmen or Violetta singing their hearts out in melodies most opera lovers can hum in the shower. We usually think of opera as a dramatic or comic story related through song and instrumental music. It consists of melodic arias that express a character’s feelings, and spoken or almost spoken recitativi, which move the action forward. Of course, today, if you google the word “opera”, you may come across information about a browser for Android devices.

 

Many modern operas veer away from the standard structure. In September of last year, the historic Bavarian State opera in Munich, Germany, premiered a new music-theater work 7 Deaths of Maria Callas by controversial performance icon Marina Abramović. The New York-based artists is perhaps best known for her 2010 MoMA performance The Artists Is Present, in which she sat at a table speechless while long lines of visitors waited to sit across her and watch her expressions. 

7 Deaths of Maria Callas was presented as an opera. It featured seven arias Callas was most famous for, such as Vissi d’arte and Un bel di  sung by various sopranos, while Abramović, occasionally joined by actor Willem Dafoe, recited her own narratives. Music by composer Marko Nikodijević accompanied her recitatives and video projections, which showed Abramović being strangled by snakes or die in some other torturous manner. 

For a classical opera fan, the one-hour performance was an outrage as was Abramovic’s claim that she and Callas have a lot in common. But perhaps more importantly, Abramović’s latest opus was an homage to a great soprano that some of performance art fans may not have been interested in.  Similarly, the television series Lovecraft Country features an episode based on the 1921 Tulsa massacre that is accompanied by operatic music at the request of composer Laura Karpman. The soundtrack ends in a requiem. 

 

Belgian composer Jean-Luc Fafchamps opened the 2020 season at the La Monnaie opera house in Brussels with a “pop requiem” Is This the End?  Éric Brucher's libretto focuses on a woman caught in a twilight zone between life and death. There, she meets other people in a kind of transitional state between this world and the next.  The staging by Ingrid von Wantoch Rekowski contrasts the live action on stage with film sequences shot inside the theatre and then integrated into the live performance. But the piece is conceived for watching from home.

 

Fans of the traditional music theater may wonder why we even call some of these modern pieces of theater “opera.” But we should be reminded that in Italian, opera means work, labor or opus. Operaio is a worker or laborer. So the word opera is not restricted to the kind of music performances with which it is most often associated.

 

The new works we sometimes dismiss too quickly actually bode well for the future of the opera. Their creators acknowledge and often build on the timeless masterpieces and pay homage to old masters. 

Let’s look at some of the novelties in the pipeline for the upcoming opera seasons. 

 

In the United States, hopes are high that the Metropolitan Opera will be able to re-open on September 27 and make history by staging its first ever opera created by an African American composer and an African American librettist. Terence Blanchard’s Fire Shut Up in My Bones with a libretto by Kasi Lemmons, is based on the memoir by Charles M. Blow and will star Angel Blue, Latonia Moore, and Will Liverman.

 

The Met will premiere two other operas in its new season: Matthew Aucoin’s Eurydice, starring Erin Morley in the title role, and Brett Dean’s Hamlet, with Allan Clayton portraying the tortured Danish prince. 

 

Cincinnati Opera’s ambitious plan for the next season includes two world premieres: Fierce by William Menefield and Castor and Patience by Gregory Spears. Fierce focuses on four teenage girls who struggle to adjust to school, family, and friendship, and follows their journeys toward empowerment. In their college essays, one mourns the loss of a special friend. Another one hides behind her popularity. The third feels oppressed by her parents’ expectations. And the last one struggles with a troubled home life. Despite the chorus of trolls that taunts them, the girls unite in their fight against adversity. The libretto is inspired by life stories of real Cincinnati-area teenage girls.

Castor and Patience is centered on two cousins from an African American family who find themselves at odds over the fate of a historic parcel of land they have inherited in the American South. The opera probes historical obstacles to black land ownership in the United States. 

 

Spoleto Festival USA has commissioned a new opera by Grammy Award-Winner Rhiannon Giddens, inspired by a real-life character from the American South. Titled Omar, the opera is based on the autobiography of Omar Ibn Said – an enslaved African man from the Futa Toro region of present-day Senegal - who was brought to Charleston in 1807. Thirteen years later, Omar, a Muslim, converted to Christianity, but his manuscripts written in Arabic, especially his autobiographical essay, suggest that he remained faithful to Islam.  

 

Dayton Opera will present its first ever full-length opera premiere in its coming season. Finding Wright is a result of creative collaboration of four talented women: composer Laura Kaminsky,  librettist Andrea Fellows Fineberg, conductor Susanne Sheston and stage director Kathleen Clawson. In Finding Wright, 21st century Charlotte (Charlie) Tyler, a young, recently widowed, aerospace engineer and researcher learns about the extraordinary life of Katharine Wright, younger sister of flight pioneers Orville and Wilbur Wright. The Wrights siblings were born in Dayton, Ohio.

The Washington National Opera is planning to continue its new opera initiative as soon as the circumstances allow with a short work intended for all ages, titled Elephant & Piggie, based on the book I Really Like Slop! The music is by D.C.-based composer and 2021 Sphinx Medal of Excellence winner Carlos Simon. The libretto is by author and illustrator Mo Willems, who is the Kennedy Center’s first education artist-in-residence.  

Looking beyond 2021, we can expect to see an opera adaptation of Michael Cunningham’s Pulitzer Prize-winning novel The Hours. The film adaptation featured Hollywood stars Meryl Streep and Nicole Kidman.  Co-commissioned by the Metropolitan Opera and the Philadelphia Orchestra, the opera by composer Kevin Puts will bring back star soprano Renee Fleming from her semi-retirement. Puts, whose opera Silent Night won the Pulitzer Prize in 2012 is collaborating on The Hours with librettist Greg Pierce. The staged premiere, also featuring Joyce DiDonato and Kelli O’Hara is slated for 2022. 

San Francisco Opera is likely to bring in a performance of the new Finnish opera Innocence in the near future. The work by composer Kaija Saariaho and novelist Sofi Oksanen, is a co-production of the Festival d’Aix-en-Provence, the Finnish National Opera, the Royal Opera House in London, the Dutch National Opera, and the San Francisco Opera and is sung in nine languages: English, Finnish, Czech, Romanian, French, Swedish, German, Spanish and Greek.

Here is how Music Finland online describes the opera:  “Innocence takes place at a wedding in present-day Helsinki, Finland, with an international guest list. The groom is Finnish, the bride is Romanian, and the mother-in-law is French. But the groom’s family has a dark secret – ten years earlier, these characters were involved in a tragic event. When the events from long ago begin to unravel and the ghosts of the past revive their memories of the trauma, the family faces the question: where does the innocence end and guilt begins? 

Sounds bergmanesque and intriguing. 

Los Angeles Opera’s new season is highlighting a one-man opera by Pulitzer Prize-winning composer Du Yun. In the work titled In Our Daughter’s Eyes, baritone Nathan Gunn portrays a father struggling to become a man his daughter would be proud of. As a gift for his unborn daughter, he writes a diary documenting his journey to fatherhood.   

More new operas than ever are written by and about minorities. Just a few years ago the best that a female or African American composer could hope for was a performance at a smaller local theater. Now, the world’s most eminent opera houses are fighting to commission their best efforts and turn the spotlight on them. If successful, these works may change the world of opera in unexpected ways. 

 

 

 

 

 

Opera in the Time of Coronavirus

This is a preview of my article written for the Washington Opera Society Magazine, June 2020 issue.

Arts organizations, especially opera houses, have put up a heroic fight to stay relevant during the pandemic, primarily by offering free streaming of their best stage productions. Individual artists have done their part by posting highlights from their repertoire in the social media and participating in organized outreach programs. The excuse of not seeing opera because of its prohibitive ticket prices is no longer valid.

No other opera company has done more than New York’s Metropolitan with its nightly presentation of Live in HD series on its web site, that includes such rarities as Berlioz’s Les Troyens and popular works like L’elisir d’amore, interspersed with memorable historic productions of La bohème, La sonnabula and Tosca. In addition, the Met is offering a free 8-week Opera Global Summer Camp via Google and Zoom classrooms, from June 15 to August 7.

Even smaller educational outlets, such as the Castleton Festival in Virginia, have made their productions available free online. Puccini's La fanciulla del West stands out.

The end of the COVID-19 crisis, unfortunately does not mean the end of problems for the performing arts that depend on large audiences.

Social distancing and other restrictions have forced the Metropolitan Opera to cancel all performances until the end of the year, including a new staging of the opening night Aida with Anna Netrebko. 

"The health and safety of our company members and our audience is our top priority, and it is simply not feasible to return to the opera house for a September opening while social distancing remains a requirement,” General Manager Peter Gelb said.

The company had earlier cancelled its planned premiere of Prokofiev’s The Fiery Angel, while the new productions of Don Giovanni and Die Zauberflöte had been postponed to future seasons. All the performances of Die Zauberflöte will feature Julie Taymor's production, rather than the new production by Simon McBurney originally announced. The revival will be part of the December 31 opening night and social gala.

On the positive note, the Met still intends to go ahead with its premiere of Jake Heggie’s modern opera Dead Man Walking. Netrebko appears to be forging ahead with preparations for her debut as Abigaille in Nabucco. She posted a video of a rehearsal session for the role at her home in Vienna.

The Washington National Opera is scheduled to open its 2020-2021 season with a new production of Beethoven's Fidelio on October 24, in celebration of the composer's 250th birthday. The season is to follow with a new production of John Adams’s Nixon in China, as well as Musorgsky’s Boris Godunov and an “American opera initiative.” But at the time of writing this article, the company was still waiting for guidance from federal and local and health experts on when and in what manner it will be safe to resume. The Kennedy Center press office told the Washington Opera Society that “we do anticipate changes to our previously announced programming."

The 2019-2020 WNO season was cut short just ahead of the Washington premiere of Jeanine Tesori’s Blue, a work that grapples with a contemporary tragedy — the killing of an unarmed black man at the hands of a police officer. There could be no better time to show it than now, and one would hope the company will modify its fall season to include Blue.

Washington Concert Opera has confirmed plans to perform Rosini’s Maometto II on November 22 and Bellini’s I puritani in May of next year at the Lisner Auditorium, and is adding Verdi’s Simon Boccanegra, which was cancelled in the spring due to the health crisis.

MButterfly, a brand new work by talented Chinese-American composer Huang Ruo will not see its world premiere in Santa Fe this summer since its summer festival has been cancelled. The Wolf Trap, the Opera Theatre of Saint Louis and many other summer opera groups also have cancelled all performances.

Seattle Opera has also reached a moment of reckoning, announcing this week the cancellation of its first opera of the 2020/2021 season: Cavalleria rusticana & Pagliacci. The cancellation represents a loss of work for more than 220 singers, crew, and musicians in addition to the almost 60 percent of its administrative staff that has been furloughed.

“It is a deeply painful moment for us as a company, region, and world,” said General Director Christina Scheppelmann, one time director of the WNO. 

Theaters worldwide have been forced to reimagine their summer and fall seasons amid financial and other post-COVID restrictions.

Italy’s Teatro alla Scala in Milan had planned a grand fall season with 15 opera titles. But instead of conducting Tosca on the opening night in September, Riccardo Chailly will deliver Verdi’s Requiem in honor of the victims of COVID-19, as Toscanini did in May of 1946 to reopen the theater after World War II. The company has announced a new lineup including revivals of La bohème and La traviata, which had not been previously scheduled, but it is not clear what the whole season will look like.

The management of the Opera of Rome announced that it is cancelling its fall season due to the restrictions in closed venues.

The San Carlo Theater of Naples has announced a summer season featuring two concert opera performances at a central city square in July:  Tosca with Anna Netrebko and husband Yusif Eyvazov and Aida with Jonas Kaufmann. Live streaming will make both available to audiences around the world.

The Royal Opera House in London had planned Offenbach’s Les Contes d’Hoffmann, Händel’s Ariodante and Janaček’s Věc Makropulos among its offerings for the fall season, but the company has yet to announce if and when it might reopen. And just this week ROH chief executive Alex Beard said the company will "not last beyond autumn with current reserves."

The Paris Opera was forced to cancel new productions even before the pandemic amid a series of strikes in the French capital. Between December and January, the company cancelled more than 70 performances and lost about 15 million euros. It expects to lose another 40 million euros as a result of the COVID-19 pandemic. The company's two venues, Palais Garnier and Opera Bastille, are hoping to re-open in the fall, but the schedule could be heavily disrupted according to the company’s general director, Stéphane Lissner.

“It’s impossible to attract 2,700 people and respect distancing. It’s impossible to maintain distances in the orchestra, the chorus… It’s impossible. We are waiting on a vaccine, medication… Maybe the virus disappears. We have to be optimistic,” said Lissner.

Germany's legendary Bayreuth Festival has been cancelled for this summer and patrons are being reimbursed or can use the tickets for the 2021 festival.

The lockdown of concert halls and opera houses, cuts in air travel and other restrictions have devastated careers and livelihood of artists worldwide. Star tenor Jonas Kaufmann started a petition in April, calling on European politicians to support the performing arts. “What is Germany, for example, other than language, culture, art, architecture, music and…well, also football ? This is the essence of our society. If you destroy that, what is left?” said Kaufmann.

European arts organizations can actually count on some financial support from the state, since culture in Europe is generally considered essential to a personal well-being. Germany, for example, approved an initial relief package of $54 billion for freelance artists and businesses in the cultural, creative, and media sectors at the end of March. Cultural ministers of all 16 states are now asking Berlin for additional funds to keep culture alive and thriving.

That idea is strange to the U.S. political establishment, which has been steadily cutting down funds for art institutions and education for decades, making art dependable on rich donors. There is no doubt, however, that American arts organizations, especially opera companies large and small, will survive the pandemic thanks to determined performing art professionals and their passionate audiences.

“Our mission is to draw our community together through opera, a unique blend of music and drama that speaks to the mind and spirit—especially in difficult times like these,” Seattle Opera's Scheppelmann said.

L'amour de loin - et de près

If you like Pelleas et Melisande and Le roi Arthus, you will like L'Amour de loin, a turn-of-the century opera by Finnish composer Kaija Saariaho, which finally premiered at the Metropolitan Opera this season.  First seen at the Salzburg Festival in 2000 and two years later in Santa Fe, New Mexico, the story of a medieval troubadour in love with a woman he has never seen can easily be transported in today's era of virtual reality.

Robert Lepage's production, featuring ribbons with LED lights stretched across the stage to create a stylized version of the sea surface, was perfectly suited to contemporary music expression and overall feel of the work. Alas, they dressed Eric Owens in some sort of "princely" garb and stuck a lute in his hands to make him look more like a Latin American dictator than either a medieval prince or a modern day lover.

The production has been described as mesmerizing and dazzling, but I must admit that it was a little déjà vu for me. I also suspect that I would have enjoyed the radio broadcast more than I did the video simulcast. Except for Owens that is. If there ever was a person miscast for an operatic role both in looks and in sound, it was Owens in the role of Jaufré Rudel, a 12-th century troubadour from France.

We all remember the big hoopla about Deborah Voigt losing her signature role in a London production of Ariadne auf Naxos because of her size. The producers said they had envisioned an Ariadne in a mini skirt and our Debbie did not fit the image. The U.S. media screamed foul, but Voigt seemed to understand. Movie and theater directors audition hundreds of actors before choosing the one they deem best suited for the role. Why should opera be different? If we only needed the right voice, we could just have concert performances and do away with acting and sets.

Countess Clémence of Tripoli, the pilgrim and Prince Jaufré Rudel are the only characters in L'amour de loin, but there is also an excellent chorus à la grecque

With Owens, it's not just the size that's wrong- it's the whole persona. He was a powerful Alberich (Der Ring des Nibleungen) convincing, though not perfect Stephen Kumalo (Lost in the Stars) and an OK Orestes (Elektra). But a medieval prince he ain't, either to the eye or to the ear. On Saturday, Owens sounded more wobbly than I had ever heard him and his French was simply atrocious. There, I said it. Hence, I think he would have ruined the radio broadcast for me as well as the video simulcast. With the abundance of French baritones in today's operatic world, and Canadian Phillip Addis who sang the role recently, one wonders who decided on Owens for this production. 

Susanna Phillips, on the other hand, was well chosen and convincing as the countess d'Outremer.  Her  scaly dress made her look like a siren most of the time. Maybe it was intentional.

Saariaho’s opera has been described as “transfixing," "lushly beautiful," "groundbreaking," "haunting" and "elegiac," among other things. The libretto by Lebanese-born Amin Maalouf is simple: Prince Jaufré, a troubadour (based on a 12-th century character) in Aquitaine is tired of earthly pleasures and seeks something more transcendental. He finds it in his own imagination of a beautiful noble woman, Countess Clémence of Tripoli, described to him by a pilgrim. Clémence spent her infancy in Toulouse, and yearns to return there. From their respective shores, Jaufré and Clémence yearn for idealized images of something that may be different in reality.

Half-way across the sea on the way to meet his beloved, Jaufré gets cold feet and tells the pilgrim, "The sun shines beautifully from afar, but it burns you if you get close." The premise is reminiscent of a popular Serbian poem Strepnja by Desanka Maksimović in which she says that "joy is beautiful only while you wait for it" and that "everything shines like a star only from a distance."  She implores her lover not to come closer so she would not be disappointed. In this respect, Maalouf's story is almost identical to the Serbian poem. 

But while Maksimović wisely stops there, L'Amour de loin becomes cloyingly sentimental in its search for a conclusion and eventually veers off into religion. Jaufré becomes deathly ill during the sea voyage and dies upon meeting his dream woman. Dies happy - we are made to believe. She is brokenhearted, but says she will find consolation in loving from afar because after all, we love God from afar. Do we need that message? For me the story would have been more convincing and the opera more meaningful if the lovers had never met and continued to yearn for each other sight unseen. Or if they did meet only to realize they were idolizing a non-existing person. 

L'Amour the loin with its 21st century music and the Met's hi-tech production would be better matched with a contemporary story in which two people fall for each other (as many do these days) through the Internet. In some cases they later meet in person and really get to love each other. In others, one side has criminal intentions and the story ends tragically. But most people who "fall in love" online are simply disappointed when they meet the other party in person, and they politely tell each other good-bye. Eric Owens would fit perfectly in one such story.

Very often, real life stories are much more inspiring than the fictional ones.

Take for example American astronaut John Glenn, who died on Thursday, and his wife Annie. They knew each other since they were children. When they married (and naturally before that) she stuttered so badly that she would not go shopping except in places where she could pick up what she needed from the shelves.  Glenn was first a war hero, then after his 1962 flight into orbit became a world celebrity, and later a senator. He even ran for president in 1984. So for most of their married life he was a man of fame and power and she was low-profile. But he was a devoted husband and, as far as we know, the glory did not tempt him to stray from his wife.  

Annie underwent a successful treatment for her affliction when she was over 50 years of age. Until she was ready to step into the limelight, Glenn was fiercely protective of her.  The Washington Post on Friday quoted him as telling Annie after his return from the space, “Look, if you don’t want the vice president or the TV networks or anybody else to come into the house, then that’s it as far as I’m concerned.” 

“They are not coming in and I will back you up all the way and you tell them that! I don’t want (Lyndon) Johnson or any of the rest of them to put so much as one toe inside our house,” he said in a phone call upon landing.

They were married for 73 years. What a great love story! Forget L'Amour de loin.

*****
A clip from the Met's production:
https://www.youtube.com/watch?v=XkhaI6Nv-8Y

Tristan und Isolde by Mariusz Treliński

Mariusz Treliński was movie-star good looking when I met him in the Kennedy Center foyer ahead of his first U.S. appearance in 2001. The acclaimed Polish film director had attracted the attention of then-Washington Opera director Placido Domingo with his innovative production of Puccini's Madama Butterfly in Poland and Domingo invited him to stage it in the U.S. That event changed Treliński's life forever. Since then he has directed operas in several major U.S. cities, and many others in various countries. His operatic journey has culminated with the production of Wagner's Tristan und Isolde for the opening of the Metropolitan Opera's new season.

Treliński's Butterfly was the first truly exciting opera production I had seen in Washington and, I thought, one with uniquely central European uncluttered esthetic. Although it is my least favorite opera, that one production of it remains memorable thanks to Treliński's genius.

In our interview that October of 2001, he told me (surprise, surprise) that the role of the opera director today is to make an old art form attractive to contemporary audiences, while retaining the original spirit of the work. He achieved that by making simple effects highly symbolic. Instead of recreating the early 20th century Nagasaki, he used lights to create images of shimmering water, boats silhouetted against the setting sun, the flow of Butterfly's blood. There were very few props. The stage was almost always bare, but never less than striking.

In a hitherto uncustomary prologue to the opening scene, three Polish mimes tiptoed over the dark and silent stage making grand theatrical movements at a slow pace as if performing some macabre dance. One of them slashed the air with a long knife. It was clear from their ominous expressions there will be no happy ending to the story.

The mimes reappeared throughout the opera in different roles - as servants, thieves, ghosts or spirits depicting Butterfly's moods - their movements and expressions reminiscent of the traditional Japanese kabuki theater. Similarly, Goro moved around the stage in bows and squats like an oversized sneaky cat with gestures and facial expressions that conveyed his shrewd and manipulative character better than words.

In the last highly symbolic scene the sky turned bright orange-red due to the eclipse of the sun. For Butterfly, the sun was gone with Pinkerton, said Treliński. "Butterfly sacrificed everything for the man she loved because she saw him as God. And that was her sin," he said. "Her excessive love for a man violated the first of the Ten Commandments."

The success of that production was such that Treliński got invited to return to Washington with his next creative endeavor, Andrea Chenier - also a very symbolic rendition, but in my view less focused and less memorable than his Butterfly. From the first act showing the nobility wrapped up in their cocoons (which I liked), the scene changed to something like an American country fair (which I didn't like), and the rest I forgot.

Treliński reappeared in the U.S. a few years later with productions of La Bohème and Don Giovanni that were not well received, and then I heard nothing of him, until he reappeared in New York in last season's spell-binding Met productions of Iolanta and Bluebird's Castle. The double bill performance made it crystal clear that during a decade and a half since his Butterfly in Washington, the Polish director had moved on. In his hands and Anna Netrebko's interpretation, the usually kitschy and pathetic princess Iolanta became a passionate young girl striving for independence and awareness. But it was in Bluebird's Castle, that Trelinski and his designer Boris Kudlička really outdid themselves. The double bill production was described as film noir, and seeing it in a movie theater as I did, was probably more impressive than seeing the live performance on account of the copious use of cinematic effects. Treliński believes that fairy tales always contain deeper levels and he is a master of unveiling them. He said he wanted the fairy-tale women to become real - the characters we can identify with. Both pieces were spectacularly successful, although for me Bluebird remains especially unique and unforgettable. It created a sense for the audience of being in a nightmare together with the performers. 

No wonder the Met snatched the talented Pole again for this season and this time with an offer he could not refuse. What can be more flattering for an opera director than an  invitation to present his vision of Tristan und Isolde and in no less than one of the world's top opera houses.

Photo: Ken Howard for the MetropolitanOpera

This time around the reviews were not unanimously complimentary. Some critics thought the modern warship setting and various video projections were unnecessary and distracting. One reviewer particularly hated references to Tristan's early loss of parents. None of this bothered me. I found Trelinski's contemporary setting as acceptable as any, and in an opera without too much action, an occasional appearance of Tristan's father's ghost, or some image from his childhood did not take away anything from the beauty of the music or from the central theme. The military costumes were not a novelty either. In fact, I was surprised to find this production of Wagner's work a lot less revolutionary than expected from such an innovator as Trelinski.

Still, his interpretation did reveal at least one new layer of Tristan for me. While for years I watched the opera as a great love story, this Saturday at a movie theater I saw it for the first time as an opera about death. Partly, it must have been due to the dark setting which highlighted all the talk about hating daylight and embracing night, and seeking relief in the blackness of the netherworld. But I am sure the shift in my perception was a great deal due to the protagonists who in this performance were anything but lovers. I have never been Nina Stemme's fan and no amount of imagination or goodwill on my part could turn Stuart Skelton into Tristan. To make matters worse, there was zero chemistry between the two. The only interpreters worth sitting through four hours of this opera were Ekaterina Gubanova, a convincing and lovable Brangäne - the best I've ever seen - and René Pape as dignified King Marke. Gubanova also never looked better. Neil Cooper's Melot was noteworthy, although less so.

Tristan und Isolde may be about death, but it is still primarily about star-crossed lovers - definitely not about their companions and relatives, and so despite Trelinski's effort and overall decent singing, this production fell flat.

John Adams Redux

For opera lovers, the Metropolitan Opera's live in HD broadcasts may be the best thing that has happened in recent years.   The Met's announcement in June that it was cancelling its worldwide broadcast of John Adams’s masterpiece The Death of Klinghoffer may be one of the worst.

In a press release, the company said that the decision was made in response to “genuine concern in the international Jewish community” that the broadcast would be “inappropriate in this time of rising anti-Semitism, particularly in Europe.”  The Boston Globe newspaper responded: "The wrong-headedness of the Met’s decision sets a bad precedent for arts organizations and violates the vital notion that difficult ideas can be confronted and discussed through the arts."

Composer John Adams

Like most operas by John Adams, The Death of Klinghoffer is inspired by true events - this one by the 1985 hijacking of the Achille Lauro cruise ship by four members of the Pelestinian Liberation Front.  The event is remembered mostly because of their gruesome killing of disabled Jewish-American tourist Leon Klinghoffer whose body was then thrown overboard.

I have been looking forward to the Met simulcast of The Death of Klinghoffer for many reasons.  First because I appreciate Adams's music, and this rarely performed opera is considered to be one of his best works.   Then I have a strong personal reason.  A few years before the hijacking, I also was a tourist on the Achille Lauro, sailing from the South African port of Durban to the island of Mauritius in the Indian Ocean on a Christmas cruise.  It would take a short novel to describe the two weeks on the ship with an Italian crew making every effort to keep passengers entertained during the lengthy voyage.

Achille Lauro at Cape Town

Apart from a three-day stop at Mauritius, the entire time was passed on the ship at high seas, so cabin fever was a constant threat, and yet there was never a dull moment.  One of  my most hilarious memories has nothing to do with organized entertainment.  It involves a Jewish couple who shared our dining table.  I did not immediately realize they were Jewish as such things were not of vital interest to me.  But I could not fail to notice that the wife regularly directed suspicious sniffs muttering to her husband "don't you think this smells of bacon?"  Sometimes she would ask the server if there was bacon in a dish. Initially, I thought her concern was about calories or just plain dislike of bacon.  The husband largely ignored her remarks and one morning ordered bacon and eggs for breakfast to her indignant dismay.  Unperturbed, he said "this is kosher bacon," and proceeded to devour his breakfast with gusto amid hilarious uproar at the table.  It was only then that I understood the real reason for his wife's concern.

Hawaiian Evening on the Achille Lauro

As fate would have it, during my moves from continent to continent, I lost my Achille Lauro album, but one of the only two photos I have left is of the Jewish couple with whom we shared many enchanted evenings on the ship.

Could I imagine at the time that the Achille Lauro would enter history as a setting for a terrorist act, and later an opera?

Adams's now famous opera Nixon in China had not yet been performed and the term docu-drama was largely unknown.  I don't think I had heard about the composer either, even though he had already garnered success with instrumental works such as Shaker Loops, Harmonium, and Grand Pianola Music.  I think I first heard of Adams when his opera Nixon in China arrived in Washington in 1988 and I was dying to see it, but could neither afford the ticket nor a baby sitter.  Who wouldn't like to see Kissinger, Nixon and his wife, and various Chinese politicians on the operatic stage?  When the opera premiered in Houston in 1987, all of the principals could have attended except for Mao Zedong and Chou En Lai, who were dead.

Lounging by the ship's pool 

The Death of Klinghoffer was co-commissioned by several opera companies and it premiered in Brussels in 1991.  When it was staged later in the year by the Brooklyn Academy of Music, it created an immediate controversy causing cancellations, especially from the American theaters.  The San Francisco performance in 1992 was picketed by Jewish advocacy groups, while the Los Angeles Music Center and Opera Glyndebourne – both co-commissioners of the opera – dropped plans to perform it.

Music critics gave The Death of Klinghoffer good reviews, some even said it was his best work.  And the composer’s reputation seems to have suffered little from the controversy. Quite the contrary, the New York Philharmonic commissioned him for a new work to mark the first anniversary of the destruction of the World Trade Center in the terrorist attacks. That composition, titled On the Transmigration of Souls, received the Pulitzer Prize in 2003.

I met Adams in 2004 at a concert in Alexandria, Virginia, which he conducted.  He explained what he did in The Death of Klinghoffer.  “I gave a voice to the Palestinian nation. I wrote choruses for them, and one of the terrorists tells the story of his childhood and the murder of his brother. And I gave them beautiful music as well as to Jews, and many people, particularly in America, thought that this was a terribly naive, even anti-Semitic thing to do," said Adams.  "I was in effect 'glorifying terrorism.'  But, he argued, “Shakespeare writes for Iago in Otello.  He gives him every bit as beautiful poetry.  Otherwise, it just would not have any impact, or power.”

In the meantime, the continued relevance of The Death of Klinghoffer spurred numerous revivals, especially in Europe, including a film version on BBC television, which is now available on DVD.  No particular disturbances were reported during those performances.And now, after more than 20 years, this masterpiece has finally reached the Metropolitan Opera. The Met has previously staged Adams's Dr. Atomic, which was written much later than Klinghoffer, and when this proved to be a success it also showed the much older Nixon in China. A planned live-in-HD transmission of  The Death of Klinghoffer would make it accessible to tens of thousands of people around the world, and those of us in the United States who cannot afford to fly to New York to see it. But shortly after the good news was announced, the Met's general manager Peter Gelb made it known that the simulcast was off. It is hard to believe that this is happening in the country that so celebrates freedom of expression and so likes to criticize those that don't. 

Adams himself said that the cancellation of the international video and radio transmission “goes far beyond issues of ‘artistic freedom,’ and ends in promoting the same kind of intolerance that the opera’s detractors claim to be preventing.” Gelb said he personally did not consider the work anti-Semitic. But he apparently was persuaded that it could fuel "rising anti-Semitism, especially in Europe." 

Like the Boston Globe commentator, I ask myself how that could happen. "Are the goons who dominate far-right parties in European countries really going to tune into opera broadcasts for their inspiration?" asks the Globe critic. "The only other justification for cancelling the broadcast of the production (which will still be performed on stage at the Metropolitan Opera House in New York, as planned) is that some audience members might take offense. If that’s the case, why produce opera at all?"

Exactly!  John Adams said his music seeks to document his era for future as well as present generations.  “The themes that I have used in my theatrical works and the general emotional tenor of my instrumental music, I think, expresses what it is like to be alive right now," he said.  

Twenty-three years after its world premiere, The Death of Klinghoffer remains as relevant as ever, and will clearly remain so for many years to come.   Verdi, Rossini, Donizetti and other great opera composers battled censorship throughout their lives, but their masterpieces survived.   The broadcast cancellations must be painful for Adams, but they cement his place in the most exalted company. 

To hear the composer's comments see video attached in the article below:

http://www.theguardian.com/music/2014/jun/18/new-york-metropolitan-opera-cancel-death-of-klinghoffer-simulcast