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.