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"Three Way," a Trio of One-Act Operas about Sex and Love, at BAM

by Steven Pisano

"Three Way" at the Brooklyn Academy of Music(All photos by Steven Pisano.)

After an American premiere at Nashville Opera earlier this year, the provocative trio of one-act operas, Three Way, with music by Robert Paterson and libretto by David Cote, has come to the Fishman Space at the Brooklyn Academy of Music this week, presented by American Opera Projects and featuring the American Modern Ensemble conducted by Dean Williamson.

In "The Companion," a single woman, Maya (Danielle Pastin), grows bored with her android companion, Joe (Samuel Levine), who she leases as her lover. Joe can make love all night and is ever so attentive to her every need, complimenting her, cooking her favorite food. What more could any woman want? Well, Maya wants love. But for that, Joe's software must be updated, so call in the tech guy (Wes Mason). The results turn out to be not exactly what Maya had in mind.

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U.S. Premiere of Philip Glass' "The Trial" at Opera Theatre St. Louis

TRIAL_0085aPhoto: Ken Howard

"This is a democracy! We are subject to the rule of law!" - The Trial

ST. LOUIS, MO - There's a shift happening in the way opera is presented in this country, where cities have begun to eschew the notion of a full fall-to-spring season in favor of a more compressed festival that lasts anywhere from two to eight weeks. What started out as a summer thing - Glimmerglass, Santa Fe - has now become the year-round standard everywhere from Philadelphia to Omaha. Which, contrary to what you might think, has encouraged bold programming and the commissioning of new works, alongside the usual dose of Puccini and Verdi.

Among this new breed of festivals, none has done more to promote more new - and particularly American opera - than the Opera Theatre of St. Louis. Since its founding 41 years ago on a college campus ten miles southwest of the Gateway Arch, OTSL has presented 25 world premieres and 26 American premieres, including new works by Jack Perla, Terence Blanchard, and Ricky Ian Gordon, among others. Outside, it's a lovely, Glyndebourne-style setup (less the dinner jackets), with flower-filled gardens and wine and cheese served under candelabra-lit tents. Inside, there's an intimate, 900-seat theater with no less than the Saint Louis Symphony Orchestra in the pit. 

The standout offering of this summer's six week season is the U.S. premiere of Philip Glass' new opera The Trial, based on the Franz Kafka novel (with a libretto by Christopher Hampton.) I had the opportunity to attend a luncheon with Philip in New York a few months ago, where he spoke about why he chose The Trial for his 20th (!) opera, which premiered at Covent Garden in 2014. 

"It's about the corruption of democracy - need I say more? Aren't we living in the middle of that right now?" 

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New York Philharmonic Performs "Das Rheingold" at David Geffen Hall

Das Rheingold 06-06-2017 - New York Philharmonic - Feast of Music-014There is little doubt that, after eight years as NY Philharmonic music director, Alan Gilbert has become a better, more assured conductor than when he started. And, through Gilbert's influence as director and personnel manager - responsible for hiring no less than 27 musicians, including a new concertmaster, principal trumpet, and principal clarinet - the Phil has undoubtedly become a better orchestra. 

As we've noted here many times over the years, perhaps the biggest factor in Alan's success has been his bold, innovative approach to programming, which saw the Phil embrace contemporary music in a way not seen since Pierre Boulez and forge a completely new path into staged productions, making the most of Geffen Hall's limitations. And so, when the Phil asked Alan what he'd like to do in his final weeks as music director, he chose, among other things, Olivier Messiaen's 1983 masterpiece Saint François d'Assisein what would have been, after several previous failed attempts, its NY premiere. By all accounts, everything was in place: the director chosen, the singers cast, the dates set.

Except, it was not to be. According to Alan, who spoke candidly with the Times' Michael Cooper about his various frustrations with the Phil, "The plug was pulled, shall we say." Having seen Saint François in Amsterdam in 2008, I can understand the Phil's concerns: the opera is more than five hours long, and is full of challenging, dissonant music that would almost certainly send subscribers - never known for their willingness to embrace modern music - racing to the exits, as they did the last time they played Messiaen's Eclairs sur l'au delà, a NY Phil commission. I just wish someone had said something sooner so that the Met could have done it, as originally planned

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The Crypt Sessions Preview "Elizabeth Cree" at the Church of the Intercession

The Crypt Sessions - Elizabeth Cree - Feast of Music-013
The URL for Andrew Ousley's Crypt Sessions music series, which just wrapped up its second season, is "Deathofclassical.com", which can be taken both as a macabre joke or an aesthetic mission statement. To be sure, The Crypt Sessions, which take place underneath the gothic Church of the Intercession on 155th Street, is undeniably classical: past concerts this season have featured Bach's Goldberg Variations and Haydn's Seven Last Words of Christ, alongside a healthy dose of new music. 

But Andrew, who is by day a classical music publicist, takes square aim at the standard tropes of classical music presentation, peppering his previews with irreverent references to institutions like "The Metropolitan f-ing Opera", or exhorting that one of his concerts, "should be seized upon like a leopard seal seizes upon a slow-swimming penguin." When I arrived at the end of a long ride uptown on the C train, there was complementary food and wine in the 19th century cloister, which was filled with a healthy mix of stylish music fans from across the demographic spectrum. (The hors d'oeuvres' relationship to the music we were about to hear was lost on me, but they were tasty.)

After an hour or so, we were led out into the adjacent graveyard and down into the vaulted crypt beneath the church. (Yes, you could bring your wine with you.) The space was intimate, with room for only 50 or so people in between the pillars. A baby grand piano sat at one end, lit by burning candles that made the windowless stone-lined chamber feel warm and inviting. I don't know how Andrew found this place, but it seemed as if it had just been sitting there, waiting to be used for this very purpose.

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