Opera: The cadaver sings in David Lang's anatomy theater
Before the audience is seated at anatomy theater, a new opera by David Lang (b. 1957), a "harlot" in chains is led by an executioner through the folks gathered in the lobby. When we then scramble to our seats, we face a gallows. Stern percussion introduces a plaintive a capella recitative by the condemned, and she is hanged. Thus begins this most inventive and stimulating opera. The "plot" is her subsequent onstage dissection by an 18th century anatomist in order to find the scientific origin of her evil (she killed her husband and children). Spoiler--no such anatomic seat of sin is found, much to the disappointment of the scholar. The audience is addressed as "gentlemen" medical students who view the autopsy (women are asked to leave, but did not, at least at the performance I saw). Along the way we are treated to ensemble pieces about the 15 instruments used to dissect (lots of triple and pentad rhythms) and about each organ as it is removed, complete with the 1750 au courant theory of what each organ does, and how, if diseased, it might explain the harlot's evil. The spleen song had particularly nice rhythm and counterpoint, and the heart aria was strikingly set, with a beating projected heart on a downstage scrim, beating in time to the song, sung by the partially dissected cadaver-harlot, covered in gore.
Lang, a New York composer with a Yale faculty appointment, writes very distinctive and interesting music, fusing classical with a bit of pop and jazz to make a piquant stew (of human organs, here). He was able to sustain interest and variety in the 90 minute single act, alternating intricate counterpoint, angular melodies, and occasional lyrical contrasting sections (the lovely heart aria, for example). He has a far more original voice than most contemporary composers, and I will seek out other recent works like the Pulitzer- and Emmy-winning the little match girl passion (I do not know if Lang's aversion to capital letters has anything to do with ee cummings) about a waif who freezes to death on the street, set in the form of a Bach passion. Another intriguing composition to seek out is the whisper opera, described thusly on Wikipedia:
Lang (with Mark Dion)also wrote the libretto to anatomy theater, and the lyrics were uniformly witty, trenchant, and cleverly mixed humor with the grizzly tale unfolding before us. There were political themes explored (subjugation of women and the poor), but not heavyhandedly--just the right mix. What was best, especially compared with the leaden Breaking the Waves (see last week's review), was how the libretto was written with short, defined numbers, each fostering a unique and memorable muscial motif or treatment, as opposed to a movie laboriously set to music without alteration. So it really felt operatic and dramatically effective. Perhaps more composers should write their own libretti.
Kudos should go to the three lead singers, in very difficult roles. The cadaver-harlot was Peabody Southwell, who, after being hanged, performed nude and covered in blood on the cadaver table thereafter. She had wonderful acting skills and a rich mezzo voice. Robert Osborne's anatomist had a huge and expressive bass voice, and would not have needed the provided amplification (I'm not sure why that was needed in a small hall). Mark Kudisch was creepy as Crouch, who assists and purloins the body. His role was a bit more "musical theater" compared to the relatively operatic lead pair, providing helpful variety and authentic Grand Guignol-style melodrama. The 14 piece orchestra played from the back of the stage, providing nice ghoulish special effects when needed with lots of extended-technique tapping, squealing, etc. This stimulating evening is what modern opera can be when it is done with commitment and talent. I look forward to hearing more of Mr. Lang's works, with their mix of inventive music, darkness and humor.
Lang, a New York composer with a Yale faculty appointment, writes very distinctive and interesting music, fusing classical with a bit of pop and jazz to make a piquant stew (of human organs, here). He was able to sustain interest and variety in the 90 minute single act, alternating intricate counterpoint, angular melodies, and occasional lyrical contrasting sections (the lovely heart aria, for example). He has a far more original voice than most contemporary composers, and I will seek out other recent works like the Pulitzer- and Emmy-winning the little match girl passion (I do not know if Lang's aversion to capital letters has anything to do with ee cummings) about a waif who freezes to death on the street, set in the form of a Bach passion. Another intriguing composition to seek out is the whisper opera, described thusly on Wikipedia:
- Lang wrote the libretto by typing short, personal phrases into a search engine and writing down the results. The opera includes these anonymous confessions, which are whispered by soprano Tony Arnold, while four instrumentalists never play above a hush. No audience member can hear the entire opera and it cannot be recorded, so it can only be experienced live.
Kudos should go to the three lead singers, in very difficult roles. The cadaver-harlot was Peabody Southwell, who, after being hanged, performed nude and covered in blood on the cadaver table thereafter. She had wonderful acting skills and a rich mezzo voice. Robert Osborne's anatomist had a huge and expressive bass voice, and would not have needed the provided amplification (I'm not sure why that was needed in a small hall). Mark Kudisch was creepy as Crouch, who assists and purloins the body. His role was a bit more "musical theater" compared to the relatively operatic lead pair, providing helpful variety and authentic Grand Guignol-style melodrama. The 14 piece orchestra played from the back of the stage, providing nice ghoulish special effects when needed with lots of extended-technique tapping, squealing, etc. This stimulating evening is what modern opera can be when it is done with commitment and talent. I look forward to hearing more of Mr. Lang's works, with their mix of inventive music, darkness and humor.
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