Preparing for Ainadamar
This week The Phoenix Symphony is hard at work making final preparations for its Classics series finale, Ainadamar. This opera in concert performance promises to be a unique experience full of rich cultural history, engaging story lines and beautiful music. To prepare for the main event, here are some great online resources for learning more about the story and making of this modern masterpiece:Preview article from The Arizona Republic - Richard Nilsen explains the story and genesis of the project undertaken by composer Osvaldo Golijov and also talks with Music Director Michael Christie about his experience performing the opera last year at the Colorado Music Festival.
Preview video at PhoenixSymphony.org - Michael Christie explains the story and influences behind Ainadamar along with music clips and images from the opera's past performances.
Ainadamar Information at OsvaldoGolijov.com - Visit composer Osvaldo Golijov's official website to read a full synopsis, read past reviews, watch a video about the rehearsals of Ainadamar at the Santa Fe Opera premiere, or download a Ainadamar listening guide.
Ainadamar recording mini-site - Deutsche Grammophon has dedicated a website to their commercial recording of Ainadamar containing more photos and sound clips.
Now that you're fully engulfed in the scope of the opera, don't forget to get your tickets for this Friday or Saturday, May 23rd and 24th at Symphony Hall!
11 Comments:
One other terrific source I would recommend for patrons to use is the downloadable recording of the opera from iTunes. In addition to hearing the Grammy award winning performance by the original cast and the Atlanta Symphony, composer Osvaldo Golijov has provided scene by scene explanation of the inspiration and background to the work. Hearing it from the composer's lips is a personal and potent way to become familiar with this remarkable work.
I've said this many times in the lead up to these performances... please, don't miss this!!
As one who was involved in the Santa Fe Opera production, this opera is well worth going to see. Some people I spoke to over the course of that summer loved the opera, others didn't... but isn't that what live music and theatre is all about?
In addition to obtaining the listening guide from the downloadable version, this is one of the few iTunes downloads that has the liner notes as a digital booklet, free with the purchase of the recording.
I attended the Friday evening performance. To the best of my knowledge, I have never heard a note of this composer's music. I must also admit that I have never heard of Lorca, know little of the turbulent situation in Spain during the 1930's, and didn't know what to expect. Keeping this in mind...
1) The music itself was sometimes hypnotic, sometimes trite, sometimes very profound, and sometimes just plain boring. Golijov is no Beethoven, Puccini or R. Strauss. I do not find this "opera" compelling by any measure, and although I'm glad I heard it, I have no desire to hear it again, nor will I rush out to buy the cd. I don't find this work
"remarkable" in any sense of the word. Interesting, at times heart-breaking yes. A Survivor from Warsaw is remarkable.
2) The performance was very hard to judge because of the extreme use of electronics: amplification, sound effects, water, etc. Orchestral balances were terrible. Strings (admittedly small) were not heard many times even though they were obviously working hard. Voices were overpowering at times. Some percussion effects (water gong) were unheard since everything else was miked. Wind solos were superb: alto flute, off stage brass, and the long, long, long contrabassoon solo note at the beginning.
3) I was pleasantly suprised at the large audience which seemed genuinely appreciative. But, I can sure think of more rousing, uplifting ways to end the season. Let's face it, this opera is a downer.
4) Unfortunately for the composer, here's another modern work that had already doomed itself out of existence. For music to be sustainable, it must be performable by semi-pro and amateur groups. I don't think Aimanadar meets this qualification.
the night was fantastic; I enjoyed it very much. I hope the Phoenix Symphony will consider other operas to do like this.
thank you.
I heard the Phoenix Symphony for the first time during the last two weeks, performing two very different programs – a more traditional concert (Brahms’ Third Symphony, Khachaturian Violin Concerto and Shostakovich’s Hamlet Suite) and something more progressive and adventurous (Golijov’s Ainadamar). It was nice to have the opportunity to hear the orchestra functioning in such diverse roles and programs within a week’s time. A highlight of the first concert was certainly Karen Gomyo’s thrilling musicianship on a piece that she communicated so well. I hadn’t heard the Shostakovich suite before and was happy to have heard it included on a program with more familiar works.
That being said, Golijov’s Ainadamar really blew me away. Right from the start, I was captivated by the composer’s ability to fuse concepts of a traditional orchestra, computerized technology and folk traditions of flamenco music. In our increasingly global world, this piece was a great way to be exposed to music of another culture within the context of an opera. The guitar and percussion soloists, along with the voice of Jesus Montoya, transported me to a completely different world of sound. Montoya’s voice gripped my heart with each phrase – very powerful, both in dynamics and spirit of intent. I especially enjoyed the taste of flamenco music provided by the guests after Ainadamar ended. It was a great way for audience members to hear the root of inspiration for the music we just heard. This piece, with its memorable melodies (especially in the moments with the women’s chorus) and visceral rhythms, was quite accessible. I have heard many pieces that included computerized/recorded elements, often with questionable results and I admit that I was a bit skeptical. After hearing this work, however, I was delighted by Golijov’s success in using technology in a convincing and moving way, bringing galloping horses and gunshots to life by transferring the inherent music of those sounds from a computer to the live musicians on stage. Another captivating element was mezzo-soprano, Kelley O’Connor’s outstanding voice and dramatic portrayal of Federico Lorca, which was incredibly moving and heart-felt. What an opportunity for the community to have an organization the size of the Phoenix Symphony bring such world-class talent here to present this ground-breaking and unforgettable work!
I've died and gone to Heaven! Big congrats Maestro Christie on one of the most incredible performances I've ever witnessed. I don't think I stirred an inch during the entire performance, I was so transfixed. The soloists moved me beyond belief--tears in Ms. O'Connor's eyes during the Confession. The women and men from TPSC were spectacular (and I'm not biased). The orchestra and especially the percussion (loved the clapping) performed wonderfully under your baton. I was truely moved to tears many times during the performance (but will not attempt to immortalize this with poetry!) and eagerly look forward to next season
Kudos to Maestro Christie, the orchestra, chorus members and especially the soloists. I saw the staged version in Santa Fe and, at that time, had problems getting around the sets which were colorful, but had the appearance of the designer standing at center stage and throwing handfuls of paint in all directions. On Saturday night I was able to just let the music envelop me and it did exactly that. I believe this opera to be a great addition to the world of music and espcially its ability to bring a story to life. Most have forgotten about the Spanish revolution because it was eclipsed by the greater war which was to come. To me this was the most exciting concert of the season and the standing ovation was well deserved by all. I especially thank my colleagues in the Symphony Chorus for their expert contribution.
The people who have already written their blogs must have attended a different concert than the one that I did. Whether one finds a piece of music good or bad is determined by individual tastes, but I was very disappointed in the concert last night. I very much regret to say that, if there had been an intermission, I would have left the concert hall at that time.
I am pleased that so many people enjoyed the concert. The orchestra was excellent.
I have to echo what another poster said. The music was lovely, and the talent up on stage was marvelous, but as a whole I was unsatisfied.
Having the performers miked was most displeasing. The sound was hollow, and robbed this listener and frequent opera goer of the pleasure of hearing the natural voices. The previous poster was also correct in that the sound balance was off in numerous places throughout the piece.
As to the music itself, there is no question that Golijov is talented. But as to the "horror" of the death of Lorca, the work itself did not draw me in. I didn't know much about Lorca before, and even though the character was performed extremely well, I found that I didn't care one whit that he died. For all of the build up, this work was a disappointment in that regard.
This piece was "interesting", but certainly NOT the kind of work to end the season with. And contrary to what Michael Christie said about this being a highlight of the season, my companions and I certainly did not feel this way.
The first and foremost impression I came away was Golijob’s ability to weave long and beautiful melodic songs. Quite different from the same composer’s "Last Round" and "Isaac the Blind" we experienced earlier this season. I was mesmerized by the haunting combination of electronic, percussion, vocal, and lower strings throughout. The small women’s chorus was excellent. I fell in love with Kelley O’Connor. Jesus Montoya is the one!
Overall, my reaction was a satisfied “Wow” without any exuberant “Bravos.” Maestro Christie’s approach was much mellower than the CD. Less nervous tension was actually a good thing. Thank you for lowering the volume on the gunshot interlude.
I am already studying the new recording of Golijov’s “Three Songs for Soprano and Orchestra” in anticipation of next April’s concerts.
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