Feast of Music

Virtuo(u)sity

Opera can play many roles. It can move us through passionate, star-crossed characters who reflect our fears and trials. It can overwhelm us with magnificent set designs and music of incredible power. It can simply entertain.

But, opera does not typically inspire.

The Met is out to change that with its current production of Philip Glass' Satyagraha, the second of his three profile operas (Einstein on the Beach, Akhnaten) written in the 70's and early 80's. Satyagraha concerns itself with Mohandas Gandhi's early career in South Africa (1893-1914), where he developed his system of active, non-violent resistance that would eventually win independence for India and inspire Martin Luther King, Jr. to found this country's civil rights movement ("Satyagraha" is Sanskrit for "Truth force.") As if to drive the point home, ads have popped up all over the city asking: "Could an Opera Make Us Stand Up For the Truth?" and "Could an Opera Make Us Warriors For Peace?" 

My friend Jocelyn and I were fortunate enough to attend Monday's sold-out performance, thanks to the generosity of the Met's press office. For me, this was a pretty big deal: an acknowledgment by one of the world's great opera companies that this website - and others like it - are deserving of the same consideration as the mainstream press. It also reflects general manager Peter Gelb's enthusiastic embrace of digital media, be it the Met's own blog, or the free online streaming of at least one opera each week. To say I was grateful would be an understatement.

Others have already remarked (some disparagingly) on Glass' hypnotic, trance-inducing music, which conductor Dante Anzolini takes at a significantly slower pace than the original production, now nearly 30 years old. But, if you allow Satyagraha to work on you the way Glass intends, you'll find the repeating scales and oscillating themes enter into your head sideways, refusing to leave hours, even days later. Listen to "Protest" from Act II:

The direction, by Brits Phelim McDermott and Julian Crouch, supplied an appropriately dreamlike atmosphere, filled with aerialists, stiltwalkers and 20-foot tall puppets made out of newsprint. They also chose not to use the MetTitles translation system, instead projecting selections from the libretto - a non-linear narrative adapted by Constance DeJong from the Bhagavad-Gita - on the set's corrugated iron walls. Each phrase was as sharp and clean as a dagger.

"When the motives and the fruits of a man's actions are freed from desire, his works are burned clean by wisdom's fire, the white fire of truth."

"If a work is done because it should be done and without thought for great benefits, then that is surrender in Goodness."

"By my creative nature, I consort with nature and come to be in time."

After nearly four hours of onstage stasis, the opera concluded with the transcendent "Evening Song": an ascending scale of eight tones repeated over and over by Gandhi (Richard Croft), standing alone at the front of the stage. He sang the words of the Hindu god Krishna, effectively making them his own:

"I come into being age after age and take a visible shape as a man among men for the protection of good, thrusting the evil back and setting virtue on her seat again."

Croft's sweet, pure tenor sailed out into the cavernous house, and as I looked up at the gilded ceiling, thinking about how I happened to be among the 4,000 souls filling the house that night, I have never felt so blessed. It was a transformative moment, plain and simple.

"I'm not sure what just happened," Jocelyn said as we were walking out. "I feel different."

While I won't claim a sudden burning desire to go out and join the Peace Corps, Satyagraha has certainly changed my perspective when it comes to the need for non-violent action in response to social injustice. As I write this, the Rev. Al Sharpton is in the final stages of mobilizing his National Action Network in a city-wide campaign of civil disobedience in response to the police acquittals in the Sean Bell murder case last week. Say what you will about Sharpton: there is no living American that I know of who has so persistently fought for those who have little-to-no voice in our society. And while Sharpton may bear little resemblance to the man known as "Mahatma" ("Great Soul"), you can bet your ass Gandhi would be marching right along side him.

(The Gandhi statue in Union Square Park)

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Monday was also the final Connect at the Met event of the season, during which the Met hosts a reception on the Grand Tier prior to the performance, in this case for singles in their 20's and 30's. (They also host evenings for singles 40-and-up, as well as for members of the GLBT community.) The price, $110, would have been too steep for most 20 and 30-somethings I know (including your's truly), though that did include an orchestra-level seat, which would have cost just as much by itself.

When I arrived, I was issued a nametag and offered a choice of wine or soft drinks. One table was filled with hors d'ouvres; another was piled with hardcover copies of Arthur Herman's new book Gandhi and Churchill, free for the taking. On cocktail tables, there were brochures advertising the Met's Young Associates Program for 20 and 30-somethings, which starts at $500 ("Friend") and goes up to $2,000 ("Best Friend"). (No word yet on whether or not the development office has a "BFF" level in the works.) 

Jocelyn and I met a range of people (including some who were clearly no longer in their 30's): everyone from opera aficionados, to several folks who were at the Met (or any opera) for the first time. There were doctors, lawyers, staffers from Carnegie and Lincoln Center, and enough friends-of-friends to keep the mix interesting.

There was also a desert and champagne reception during the first intermission, where we got to exchange reactions. I heard everything from "This is not an opera!" to "I don't know what's going on, but I really like it." If I were the Met, I'd be pretty happy with that.

More Free Summer Fun

The 2008 Lincoln Center Out of Doors festival schedule was announced this week, featuring three weeks of stellar free events. Here are the ones you'll find me at this August.

8/7 - Noche Flamenco/Stephane Wrembel

8/10 - Regina Carter/Simone

8/13 - Hal Willner's Joel Dorn Tribute (feat. Dr. John, Roberta Flack, Les McCann, Mocean Worker, Jane Monheit, David “Fathead” Newman, and others)

8/14 - East Village Opera Company/Ahn Trio/Fernando Otero

8/15 - Wordless Music Series - Rhys Chatham et.al.

8/20 - WFMU Showcase (feat. Extra Golden, The Either/Orchestra, The Ex, etc.)

8/24 - Roots of American Music Festival (Patti Smith, Charlie Haden, etc.)

Russian School

Speaking of free shows, my friend Pete and I made our way over to Hell's Kitchen Friday night for the Movado Hour at the Baryshnikov Arts Center, which offers not only free music but free wine and hors d'oeuvres in a relaxed, cabaret-like setting. Nice.

Pete's not a big classical guy, but even he was blown away by pianist Bella Davidovich and her son, violinist Dimitry Sitkovetsky, who played Schumann, Prokofiev and Ravel, along with a couple of Fritz Kreisler encores. Davidovich, who turns 80 this year, is a living example of the great Russian piano tradition: passionate, yet disciplined, with an emphasis on clarity. Sitkovetsky was right with her, playing with a flair that dazzled without dominating. The whole thing was over in an hour: just the right amount for a newcomer.

"That was awesome," Pete said to me afterward. And he wasn't even talking about the booze. For once.

Free For All

The idea of offering a free piano recital by Richard Goode at Town Hall seems like a good idea in theory, poised to attract a grateful audience of the young and underprivileged. But, once here, you realize it only atttracts the same ill-mannered, overly-demanding geriatrics that show up at every other classical music freebie in NYC. Jeez, people, could you at least stop snoring?

Opera and Popcorn

For the past two seasons, I've resisted attending the immensely popular HD simulcasts of the Met's Saturday matinee performances, on the principle that if you live in New York and you're going to dedicate 3-5 hours of your Saturday to sitting in a darkened theater, you should get your ass to Lincoln Center. I mean, how could watching opera in a movie theater possibly be better than attending in person? Especially considering you can get a standing room or Family Circle ticket for the same (or less) money.

But, the more I thought about it, the more it made sense. After all, even the best opera glasses in the world aren't going to get you closeups the way that those cameras can. And, there was weirdly something appealing about being able to eat Jujubes at your seat. So yesterday, I decided to go check out what all the fuss was about.

When I walked into the BAM Rose Cinemas five minutes before curtain time, the theater was packed to the gills. (Fortunately, I'd bought my ticket to the screening weeks ago.) I grabbed one of the last available seats - in the third row - and had a look around. The crowd was 60-70% seniors, many of whom revealed themselves to be simulcast regulars. There were also numerous groups of middle-agers, obviously enticed by the ability to purchase four tickets for the price of a single Met balcony seat. I did find a few 20 and 30-somethings, though not nearly as many as the Met would have you believe show up for these screenings. In the end, these simulcasts have become - for better or worse - yet another New York institution.

The atmosphere was more relaxed than sitting in the Met, but far more intense than watching it at home on TV (which, btw, you can do every Sunday afternoon on Channel 13.) For one, the singers and sets are all projected larger than life (esp. if you're in the third row.) Everyone laughs and claps at the same time as the live audience (and they'll hush you if you make too much noise reaching for those Goobers.) And, in my case at least, the theater at BAM is situated in a turn-of-the-century performance venue, aiding the illusion that we were actually at the opera. (Unfortunately, BAM doesn't project the simulcasts in HD, and the sound is somewhat tinny.)

Then, there are the backstage features. Soprano Renee Fleming is a funny and down-to-earth host, literally shoving a microphone into the hands of singers as they come off stage, many of whom she knows personally. In the background, stagehands pushed scenery around and dancers stretched in preparation. Say what you will about the Met: they aren't afraid to show their stuff, warts and all.

The opera on tap yesterday, Donizetti's La Fille du Regiment, is a bit of bel canto fluff that normally I wouldn't be caught dead at. But, it was the last screening of the season, and the new production, by Laurent Pelly, has gotten pretty stellar reviews, largely due to it's top-flight cast.

French soprano Natalie Dessay has emerged in recent seasons as the opera world's great actor-singer, and she brought all of her manic energy to the role of Marie: an orphan who is adopted by a French army regiment and falls in love with a local villager. Dessay has a clear and beautiful voice that she isn't afraid to use when called upon (as in her stunning Act I aria "Chacun le sait.") But, she clearly sees herself as an actor first, with the music serving the drama, not the other way around.

"For me," she says in the program notes, "the music is not the goal. The goal is theater."

Peruvian tenor Juan Diego Flórez, who sang the role of Marie's lover Tonio, may not have Dessay's acting chops, but more than makes up for it with his golden voice, which can be showstopping. Literally: on opening night, Flórez performed the first solo encore heard at the Met in 14 years - and only the third in over a century - when he repeated the acrobatic aria, "Ah, Mes Amis," famous for it's string of nine high C's. Met director Peter Gelb, who gave the go-ahead for the encore from his box on Monday, stoked anticipation this week when asked if it might happen again during yesterday's performance.

"I don't know what will happen on Saturday, but if the audience in the opera house applauds as enthusiastically as they did Monday night, I would not be surprised if an encore of the encore took place."

Flórez nailed the aria, and both we and the live audience erupted in an ovation that went on for well over a minute. Finally, Flórez broke his pose, opened his eyes and took a slow, gallant bow. The crowd went bonkers. Their applause went on for at least another full minute, including audible shouts of "Encore!" before Flórez raised his head, smiled...and went on with the performance. After all, it's one thing to break a century-old tradition in front of 4,000 people; it's another to do it before an HD and radio audience of millions. (You can listen to the opening night aria with encore here.)

Together, Flórez and Dessay make an irresistible pair: they are like Lucy and Ricky Ricardo, complementing each other's abilities while pushing each other to new heights of performance, making you laugh all the way. And, this is apparently just the beginning: they'll be back together next season in the Met's new production of Bellini's La Sonnambula.

One key figure in this production who hasn't gotten much notice is conductor Marco Armiliato: an affable young Italian who's been working under a low profile at the Met for the past ten seasons as one of James Levine's key proteges. Armiliato kept things appropriately light and frothy, and had a huge smile on his face while leading the applause for Dessay's and Flórez's ovations.

Oh, yeah, and he conducted the entire opera from memory.

Watch and wait: if Armiliato plays his cards right, he's going to have his own opera house someday. Maybe even this one.

There were a number of technical gaffes during yesterday's broadcast - cameras out of frame, mics not working properly, etc. But, all that just served as a reminder that this was a live broadcast, where anything can happen at any time. Which, when you think about everything that can possibly happen during an operatic performance, it's a bit mad to even make the attempt. Kudos to broadcast director Gary Halvorson for managing to keep the wheels on.

Will I go again? Probably, though I doubt I'll make a habit of it. Watching opera on a screen will never come close to the overwhelming intensity of being inside the Met. But, it's not a bad way to spend a Saturday, esp. if you're with friends. (More pics after the jump.)

Make Music New York - Take 2

I actually missed seeing any Make Music New York shows last year, but fortunately, it's back again for a second year on Saturday, June 21. If you're a musician and want to play, or if you own a store and want to host a lineup, you can register here. 

Up North Jazz

Myk Freedman's Saint Dirt Elementary School came all the way down from Toronto to play Barbes Wednesday night for the latest installment of Stochastic Brooklyn. It was big band jazz: some composed, some not, mostly sounding like a record playing at the wrong speed. Not that that's a bad thing, not at all. Extra props to the Melodica player.

Why I'll Never Have a Hamptons Share

Earlier this week, Celebrate Brooklyn and Central Park Summerstage released their lineups, and once again, it's a veritable smorgasbord of (mostly) free shows. Here are the ones you can expect to see me at:

Celebrate Brooklyn
6/12 - Isaac Hayes
6/14 - Miriam Makeba
6/19 - Medeski, Martin & Wood/Marc Ribot's Ceramic Dog
6/22 - Salif Keita
6/24 - Gilberto Gil (paid show)
6/27 - Cold War Kids/Elvis Perkins/Sam Champion
7/5 - Michael Stuart/Grupo Essencia/Zemog el Gallo Bueno
7/9 - Feist (paid show)
7/11 - Brazilian Girls
7/12 - Beth Orton/Matt Munisteri
7/18 - Deerhoof/Metropolis Ensemble (Rite of Spring)
7/19 - Enter the Dragon with Karsh Kale
8/1 - Carl Davis with The Knights
8/3 - African Guitar Festival

Central Park Summerstage
6/14 - Vampire Weekend/Kid Sister/Ecstatic Sunshine
6/28 - Vieux Farka Toure
7/5 - Rachid Taha/Dengue Fever
7/6 - Seun Kuti
7/20 - Santogold/Diplo
8/2 - Roy Hargrove Big Band
8/6 - Sonny Rollins (paid show)
8/14 - Los Lobos/Los Lonely Boys
8/16 - Battles/Black Dice
8/17 - Sharon Jones & The Dap Kings

Unfortunately, I'll be out of town for Philip Glass on 7/25 and Ghostland Observatory on 7/26 (both in Brooklyn), but you should go.

Opera Is Fun

(Note: This was originally written for the City Opera blog, which will probably never see the light of day, now that the season's ended. Oh well.)

What is opera, anyway? Is it Music? Theater? Performance Art? Opera house directors around the world struggle to answer these questions every season, often coming up with decidedly mixed results.

Refreshingly, City Opera doesn’t seem at all conflicted about what opera’s role is supposed to be. If you want heavy, five hour-plus sagas, go across the plaza. But, if you want to have a relaxed, enjoyable evening out with better-than-average music and stagecraft, City Opera’s your place. That ethos is what, in part, drew Gerard Mortier to become City Opera’s next General Manager: in his remarks at the Morgan Library last month, he came down clearly in favor of opera as entertainment (though Mortier’s idea of “entertainment” may take some getting used to for conventional audiences.) 

At the performance of Leonard Bernstein’s Candide I attended last week, I noticed casually-dressed couples watching the opera with their arms around each other, acting as if they were at the movies. I wonder how long it’ll be before they let patrons bring refreshments to their seats (pop corn, anyone?)

It also helps if your opera has memorable tunes, and Candide has no fewer than three: “It Must be So,” “Glitter and Be Gay,” and “Make Your Garden Grow,” all of which have emerged as standards. And, the brief, breathtaking overture - which Bernstein orchestrated himself - is unquestionably the greatest ever penned by an American: the New York Philharmonic used it as an encore on their recent program in North Korea.

Bernstein, who would have been 90-years-old this year, originally conceived of Candide as a Gilbert-and-Sullivan style operetta, and it was initially produced as a work of musical theater. This landmark 1982 production, by veteran producer Harold Prince, maintains the theatricality of Candide, casting Broadway stars Daniel Reichard (Jersey Boys) as Candide and the hilarious Richard Kind (The Producers, Spin City) as Voltaire/Dr. Pangloss, along with a supporting cast of young, attractive singers. But, it goes deeper, amplifying the music with orchestral magnitude which serves to drive home the philosophical issues raised – and skewered – by Voltaire. It has been presented almost exclusively in opera houses ever since.

Most importantly, Prince’s production keeps things fun. My friend and I sat in the third row of the orchestra, where we were surprised to see Candide sidestep through the entire aisle directly in front of us while singing “It Must Be So.” I can’t remember ever being that close to a singer in full voice: it literally sent shivers up my spine. The entire cast of principals repeated the move in Act II, while Pangloss tossed sheets of paper filled with axioms from a first tier box to our left. (As a fringe benefit, we sat too close to see the supertitles, which normally can aid apprehension but in this instance were an unnecessary distraction.) 

Afterwards, my friend and I were invited to a champagne reception on the Grand Promenade after the performance, where we mingled with cast members and City Opera staffers for the better part of an hour. The party came courtesy of City Opera’s Big Deal program, which, if you haven’t caught on yet, is one of the best deals in town for patrons under 40. And, with a free Time Out New York subscription and at least two parties every season, it practically pays for itself.  

So, think about City Opera the next time you’re planning to bring someone to the movies or a Broadway show. Sure, it might not be as glamorous as the Met, but the price is right. Not to mention a lot more fun.

A Real "Feast of Music"

Japan's Fumiaki Goto has apparently invented a dining room table that doubles as a marimba. Go here for the full meal.