Girl at the Opera


HGO’s Otello leaves last season in the dust
Monday October 27th 2014, 12:33 pm
Filed under: Houston Grand Opera

My review of HGO’s remarkable Otello at Houstonia.



In Brief: On Riyaaz Qawwali
Wednesday October 22nd 2014, 12:29 pm
Filed under: Intermission

From Theodore Bale, a thoughtful review of an extraordinary Qawwali concert at the Menil on Monday. Rarely does Houston’s art scene remember this side of music in town.



Kozhukhin at Houston Symphony
Monday October 20th 2014, 7:56 am
Filed under: Houston Symphony

An astounding performance by Denis Kozhukhin of Prokofiev’s Piano Concerto no. 2 at Houston Symphony. Read my review at Bachtrack.

You can watch his sublime encore of Gluck’s “Dance of the Blessed Spirits” here: Kozhukhin Encore



Al-Zand, Barber, and Copland at Houston Symphony
Monday October 06th 2014, 10:29 am
Filed under: Houston Symphony

A beautiful concert of American landscapes featuring violinist Sarah Chang. My review at Bachtrack.

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Rigoletto at Opera in the Heights
Monday September 29th 2014, 11:42 am
Filed under: Houston Grand Opera,Opera in the Heights

Opera in the Heights opens its 2014-2015 season with a popular classic that Houston Grand Opera did just last year. Read my review at Houstonia.

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Houston Symphony: More of the New, Please
Monday September 22nd 2014, 7:28 am
Filed under: Houston Symphony

World Premiere Karnavalingo by Gabriela Lena Frank up against Rachmaninoff’s Piano Concerto no. 2 and Strauss’ Ein Heldenleben in Houston Symphony’s Classical Season Opener. Read my review at Bachtrack.

 

 

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Form and Story: Laurie Anderson at UH
Thursday September 11th 2014, 12:55 pm
Filed under: Intermission,New York

Laurie Anderson resists categorization. The Mitchell Artist Lecture is an annual event that aims to bring “icons of the avant garde” to the University of Houston. And you can read the long list of reasons why Anderson fits this bill on Wikipedia, but on Wednesday night at the Moores Opera House she embodied a more complicated set of questions the twentieth century has asked about music and art on the whole. She opened her lecture by stating “I’m going to talk about a few of those things I supposedly do, but really…I’m a storyteller…I’m going to talk about some ways I try to jam those things into different forms.”

Why do we need categories? Anderson spoke about the “Art Police” commanding “Get back into your category!” She was reminiscing about the 1970s, when “Nobody really knew what they were doing…We just tried everything.” The borders between what they—Gordon Matta-Clark and Philip Glass, to name a few—were doing, though, remained flexible. “Nobody ever asked me what I wanted be as a kid,” Anderson joked, “So I never decided.” Here Anderson presses against an on-going struggle, particularly in the critical sphere, to define something by placing it in a box with a specific heading: opera, musical, symphony; sculptor, writer, composer. Her interdisciplinary body of work (and that is an understatement) forces us to deal with a more repressed question: what is at stake without the box?

Why does form matter? Once performing on the street in Italy,  Anderson stood in ice skates that were frozen into a block of melting ice, and she played the violin until the ice melted, leaving the duration of her performance up to the elements. The revolutionary aspect of compositions in the twentieth century begins with tension between content and form of a work. The inventions of the twelve-tone scale, tone rows, and matrices in the early half of the century are philosophical experiments in how content is generated, and we can look to Arnold Schoenberg, a pioneer of atonal music, as a yet unwavering exceptionalist figure of the Composer. In the latter half the century, though, chance-generated work radically removed a composer from her work. Indeed, John Cage, a student of Schoenberg, sought to free the content of his music from individual (or the “Composer’s”) likes and dislikes. But it’s not a free-for-all. In chance-generated work the content is unrestricted, but the form is often inflexible. The developing relationship between form and content in Anderson’s work shows an inkling of the future: will form still matter?

How does storytelling relate to form and content? Throughout the evening, Anderson read several stories and told several others off the cuff—some of which she finished and some she left dangling without conclusion. It made her lecture seem disorganized, but the form her lecture took represents an important concept of telling stories. Think of Robert Ashley’s Perfect Lives, for example. Ashley’s investment in American storytelling instigated a move to television—a trailblazing move for opera especially. But someone watching Perfect Lives for the first time will likely have trouble grasping its plot. Instead, we recognize the characters, and this familiarity ties it all together into a story. For Anderson, a story is a set of links: “String something together and call it a story…often I’m very suspicious of those kinds of things, but we all have our stories about our lives,” she said. As such, it’s fascinating to think about what it means for storytelling—an ever-expanding category in itself—to be the inflexible form of Anderson’s work.

A wise person chose David Eagleman, a neuroscientist interested in time perception, to introduce Anderson. Anderson’s stories ranged from ducks in ponds to watching friends die and Vipassana meditation retreats in the mountains—all deeply reminiscent. Many of the films Anderson showed ran in reverse, emphasizing varied states of passing time. At one point she stated, “Every time you tell [a story], you forget it more,” implying, too, that as memories fade they grow into stories with a life of their own. Perhaps time, memory, life, and death raise the largest set of questions, too many and too varied, that stretch throughout civilization far beyond the twentieth century—questions that have yet to be answered in any discipline.

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A New Make
Sunday July 20th 2014, 12:20 am
Filed under: Intermission,New York

 

Alex Waterman, director of Robert Ashley’s Vidas Perfectas, introduced tonight’s performance by remembering what Ashley said to him about re-making his television opera Perfect Lives: “Don’t sell them a used car–make them a new one.” The performance tonight in Marfa, TX, of the Spanish-language version was classically Ashley while inhabiting a vital new magic.

Whether you know Ashley’s operas or not, keeping old opera new is a popular topic right now.  The Economist‘s opera blog posted a piece just last week about Sir Mark Elder’s vision of a La Traviata at this year’s Glyndebourne festival that, he promises, will be new, fresh, and full of exciting discoveries. A tough promise for such an old work. And as the comments show, opera lovers fall passionately on either end of the spectrum about new and old works (and how those distinctions are defined) and staying true to the composer’s intention (whatever that might mean).

Tonight was the final performance of a four-night tour through west Texas, and the finality added an energy akin to a last hour spent with a loved one.  The fearless and talented Ned Sublette, Elio Villafranca, Elisa Santiago, and Raul De Nieves performed the last three out of seven episodes: El Parque (The Park), El Bar (The Bar), and El Patio De Atras (The Backyard). El Parque opened quietly. A strong groove had the floorboards shaking with unconsciously tapping toes by El Bar. But El Patio De Atras was truly spell-binding. Behind a row of old Panasonic televisions, the stage was framed by powerfully colored hanging banners–orange, purple, turquoise, red–that met at the back in two blocks of green. In the last act, these two green blocks opened slowly to the outside where Santiago was standing in a spotlight dressed in a floating gown alone. It was beautiful.

Ashley died this March, but if this production says anything it is that he is very much still alive. Near the end of his introduction, Waterman dedicated the performance to Mimi Johnson and Ashley, saying “They were supposed to be here tonight, but they couldn’t make it”–as though something had just come up in Ashley’s schedule. It was a fitting statement given how strongly Ashley’s influence comes through in this production. It may be a new car, but it still has the peaceful ingenuity I love in Perfect Lives. How much is Ashley and how much is Waterman–that’s harder to say. Who knows what some time will do to this work. What will Perfect Lives look like in 2050? I’m not sure, but I can’t wait to find out.

 



Summer Intermission: Some Notes
Wednesday July 09th 2014, 4:12 pm
Filed under: Houston Grand Opera,Intermission,New York

As the summer opera-hiatus drags on—alas, will October never arrive?—a few notes:

Opera is not far away! Alex Waterman directs the late Robert Ashley’s Vidas Perfectas over two weekends in west Texas. Vidas Perfectas is a Spanish iteration of Ashley’s seven-episode television opera Perfect Lives that premiered in the 2014 Whitney Biennial in New York this spring. It is perhaps his best-known work—a composition that pushes feverishly against traditional and stuffy attitudes about opera to focus on the American vernacular and, most of all, American storytelling. Catch the first four episodes in El Paso on July 12 and the final three in Ciudad Juárez on July 13. The tour moves to Marfa for another two performances on July 18 and 19 (for more info, check out Ballroom Marfa). I’m catching the last night—look out for a review—and you can also watch video recordings of all the episodes (previously filmed in February) here.

The New Yorker’s Sasha Frere-Jones writes a noteworthy spotlight piece on Brian Eno—a composer who continues to thrill and bewilder my notions of musical content. And, surprisingly, Alex Ross takes a more generous approach than some Houston critics (myself included) to Weinberg’s The Passenger, which came through Houston in January and now sees its way through New York.

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Symphonic Spectacular!
Monday May 26th 2014, 1:43 pm
Filed under: Houston Symphony

Houston Symphony Pops’ closing concert of its centennial season veers from Rocky to a “Conductor Think Cap”–read my review at Houstonia Mag.

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