Ainadamar
Available at Amazon: Osvaldo Golijov, Ainadamar, Dawn Upshaw, Atlanta Symphony, Robert Spano (released on May 9, 2006) |
In the year after that Santa Fe staging, most of the cast (including conspicuously silent Friend of Ionarts Anne-Carolyn Bird) went to Atlanta to make a recording with the Atlanta Symphony under Robert Spano. Golijov had reshaped the opera in Santa Fe, reportedly right up to opening night, and he continued to tinker with it during the recording process. That information comes from an article about conducting by Justin Davidson (Measure for Measure) in the August 21, 2006 issue of The New Yorker, which is largely a profile of Spano. (The magazine has a video excerpt of various conductors online, with Davidson's commentary.) The opera may never be "finished" for Golijov, but at least there is now a more or less definitive version on CD.
 Kelley O'Connor and Dawn Upshaw in Ainadamar, Santa Fe Opera, photo by Ken Howard © 2005 |
However, Ainadamar has considerable appeal and will likely make a nice choice for sultry evening background sound (easy on the ears, by comparison with many other modern operas, certainly), beyond the growing market of those who have seen the opera staged. If nothing else, the price of the CD is justified by the opportunity to hear the final trio ("Venga, tome su mano" and "Doy mi sangre") as Margarita (Dawn Upshaw) is united in death with her beloved student Nuria (soprano Jessica Rivera) and the shade of Lorca (the unclassifiable Kelley O'Connor).
After my experiment with teaching William Bolcom's Songs of Innocence and of Experience in class last year, I am going to devote some time this year to García Lorca and Ainadamar, perhaps combined with Silvestre Revueltas's Homenaje a García Lorca and Crumb's Ancient Voices of Children. Since one of the supposed appeals of crossover music is to draw in younger listeners, I like to find out what my students think of it. In my experience, students approach this music more or less the same way as they do the Four Seasons or Beethoven's ninth symphony, that is, with a lot of skepticism. The fact that it incorporates "popular" idioms does nothing to recommend it.
8 comments:
I should congratulate Alex on the fine liner notes (introduction) he wrote for this CD, adapted from his review for "The New Yorker," which was indeed mostly positive. Perhaps "disastrous" is not the right word, but the premiere was widely (if not exclusively) acknowledged as a failure. Indeed, Mark Swed, whose initial review Alex cites as "positive," reviewed the Santa Fe revised production under the headline "Out of failure, a new victory." As for Richard Dyer, when he reviewed this very recording, he looked back at his impressions of the Tanglewood premiere with these words: "Ainadamar felt like a work-in-progress then; the ink was barely dry on some pages, and the stage production was on an opera-workshop level." My understanding is that Golijov himself took most of the blame for the first version, which he admitted publicly was dashed together at the last minute.
As for whether one can fairly describe Golijov's style as "crossover," I am hardly the only one to identify this quality in his music. I would not have chosen Il Divo as a comparison (which is just a pop band trying to sing opera, and doing it badly), but it does qualify as crossover in the broadest sense, that is, a musical style borrowed more or less wholesale from another genre.
That Golijov's source material was once considered non-commercial is hardly the point. In today's popular culture, the flamenco sound is an accepted and widely exported one, with a commercial life far beyond its native Spain. I think this is what Richard Dyer meant when he wrote, also about this recording: "Golijov's music incorporates the ancient gestures and harmonies of Spanish folk music and its mingled Christian, Arab, and Jewish heritage with contemporary sophistication. It also responds to the various commercial adaptations of those folk idioms."
Almost all of Alex's examples (I think "Porgy" actually is a crossover work, an opera/musical with a lot of jazz idioms) involve composers using an actual folk melody (L'homme armé) or folk-inspired qualities (de Falla and Bartók) as a basis for much more complicated forms of composition. That is, most great folk adaptations in classical music are pieces that no listener could mistake for folk music, because the folk inspiration has been assimilated, reconfigured through compositional recombination with other musical DNA. It is because large sections of "Ainadamar" are hard to distinguish from their folk models that I identify it as crossover. I hope that, with this clarification, no one will feel misled.
What is missed in all of this is that, with some reservations, I like this opera and am actually recommending that people buy the recording, which I am happy to have. Some people will not like "Ainadamar," however, and I wrote what I wrote so that people would know what to expect. After all, I would not choose to teach this opera to my students if I did not think it was worth the effort.
Dear Alex,
I am not sure if the reaction by musicologists (or Charles', specifically) to Golijov's music is a reaction against a perceived threat... the threat being the advent of 'impurity in "classical" music' ??
His music can be liked or not and can be categorized in different ways. "Crossover" is one such categorization. It will be resented or disagreed with by those who like Golijov's music and find "Crossover" to have a negative connotation. (You certainly do, since you think of - eeks - "Il Divo" at the mention of Crossover.)
Crossover indicates the merging of two separate genres in a way where both survive in recognizable form. The Kronos Quartet is Crossover in most of their projects (the WEA people certainly think of them as that) and so is a lot of "Ayre" with its Disco beats and slew of other influences.
The constant influx of Flamenco and other popular South American sound-idioms could well be considered "Crossover", even if you don't. Notation has nothing to do with it... even Metallica notates their music.
Finally: one can call Gershwin "Crossover" and still like him and respect and regard his music. If there was sniping then, there is none today. The same could be true for Golijov who obviously gets plenty help and support from some of the most important critics in this country. By disagreeing with Golijov being the 'future of classical music', I don't get the sense thta Charles is trying to be a 'keeper for the musicologist flame of purity' but simply giving a (very informed) opinion. An opinion he also shares with Robert R. Reilly ("I simply can't Salsa down the Via Dolorosa") - and, to some extent (not that that adds anything), with myself.
best,
jens
Alex, thanks for all of the information, especially about the two scores. It is good to be reminded that the last person we should trust, in assessing music, is the composer himself. I could believe that the "failure" of the Tanglewood version was exaggerated, perhaps to get people to listen to the revision as a "new work."
I am glad to have the text from Swed's actual review, as I am not inclined to trust a selection of press opinions on a composer's Web site, either. I know, to cite at least one example, that Golijov's Web site modified the title of Swed's Santa Fe review to make it more favorable, excising the word "failure," if I remember correctly.
Thanks very much for taking the time to comment at such length, and to provide some background. It's interesting to hear of the murmuring about Golijov's alleged music illiteracy, which sounds absurd (it's news to me anyway). Another example of that kind of criticism, of course, is Giacinto Scelsi.
Indeed, historians will tell you that the notion of a strict boundary between "classical" and "popular" music is a modern invention, dating from the bourgeois nineteenth century, anachronistic to the time of Monteverdi or Mozart.
Taking it from Alex Ross is good enough to convince me. But I think since the distinction (although perhaps not *as* strict as some would like to see it) does exist now - modern invention or not - and since popular music *has* largely separated from "Classical", the modern term can be well be applied to modern music. It is the difficulty of closing the gap in the listener's perception that is important, because "Classical" music is not well served by being thought of as something inherently different than popular music. I need not tell you that, as long as 95-plus percent of the Classical Music industry is one of re-creation (sifting out and performing the greatest hits from the last 400 years), this is a daunting task. The problem of "Pop" (and one of the meaningful distinctions) is that we are , as listeners, involved in the sifting process, whereas history has done the job for us with so much of "Classical" music.
By your definition a huge fraction of the classical repertory would have to be renamed crossover.
Just how big is a 'huge fraction'? :)
If I stick with you on "Crossover" being a modern term (it is, of course) and acknowledging the perception of Classical Music has indeed shifted from 'popular' to its own category, then that term should only be applied to music that has been created since that schism occurred. Back then, there was "Traditional/Folk" and "Classical". Today there are many new styles and layers in music -- creative and re-creative (sampling, re-mixing) and a cross-fertilization that makes categorization more difficult. (Though not impossible.) To that end, I believe the term "Crossover" has a meaningful place in all musics. The fact that we've gotten so quickly into a fairly detailed distinction of what we mean by it goes to show that the willingness to distinguish and specify is alive and well.
best,
Jens
"Ainadamar" is being performed in Boulder, Colorado, by the amazing Colorado Music Festival Orchestra, conducted by the spectacular Michael Christie, on July 19th and 20th, 2007. (No, I am not on the payroll.)
There will be "minimal" staging -- singers move about a little, in front of the orchestra.
There is a lot of "sound design" going on -- not only the taped sounds of fountain, horses, gun shots, and so on. I don't have a score and am interested in how this is coordinated. Can anyone enlighten me??
I saw AINADAMAR at Tanglewood, along with the opener Robert Zuidam's Rage d'Amours. While not a perfect piece, and certainly sketchy at times, it was hardly a disaster. In fact, it was a thrilling evening.
As Director of the Indiana Univertsity Latin American Music Center I am sorry to have found this discussion so late! But it is still fascinating and enlightening. I conducted the collegiate premiere of Ainadamar in October 2007, more like a passion-play, with minimal staging in front of the orchestra, and supertitles. It works very well in this manner, as it takes away the expectation to show conventional dramatic action. The audience reacted favorably and passionately, with many spectators coming backstage still moved to tears, a fact that I can humbly attribute to the music. The final judgment on this work will come only with time, but it is certainly earning opportunities for continued appreciation and evaluation. A small comment--Classical music has hundreds of years of assimilation of popular styles, from where it has re-energized itself; and Latin American art music has always had a fluid relationship with its popular genres. This conversation will not end here, clearly. Thank you all for your insights.
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