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Rufus Wainwright’s U.S. premiere of ‘Dream Requiem,’ L.A. Opera’s ‘Ainadamar’: a spirtual double bill

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The captivatingly enigmatic opera “Ainadamar” by Osvaldo Golijov has arrived in Los Angeles. This opera, one of the most rewarding of the 21st century, dramatizes the politically charged 1936 execution of poet Federico Garcia Lorca during the Spanish Civil War, concluding with the dying moments of actress Margarita Xirgu, on the brink of performing in the Lorca play “Mariana Pineda,” which centers around a heroine from an earlier Spanish revolution.

In Golijov’s one-act opera, the last 90 minutes of Margarita’s life on Earth are filled with passionate flamenco performances. The Los Angeles Opera beautifully portrays the vivid memories, emotions, and passions of Federico Garcia Lorca through flashbacks, creating an extravagant production brimming with dance. However, it is Margarita’s suffering, her death, and ultimately her life that we grieve for.

Through his untimely demise, Lorca’s essence is shared rather than personally owned. He embodies historical spirit. In her final act, Margarita bestows this spirit upon a young performer, Nuria, and indirectly, to us. The operatic piece “Ainadamar” is not traditionally tragic or conclusive in nature, but instead offers an open-ended narrative.

Life goes on. But what comes next?

A single feature film, sans break, seems fitting for contemporary viewers. “Ainadamar” stands alone, yet hints at deeper exploration. The immense presence of Margarita urges us to keep her memory alive for a prolonged period.

Entertainment & Arts

In the face of battling brain cancer, Michael Tilson Thomas gave his final performance with the San Francisco Symphony, a concert that evoked memories of a magnificent career.

As he fights against brain cancer, renowned conductor Michael Tilson Thomas performed his last concert with the San Francisco Symphony, a performance that stirred recollections of a lifetime of brilliance.

After the matinee performance of “Ainadamar” on Sunday at the Dorothy Chandler Pavilion, the Los Angeles Master Chorale performed the U.S. debut of Rufus Wainwright’s new “Dream Requiem.” This piece made for a wonderful accompaniment to “Ainadamar.” Furthermore, they decided to spend some extra time there.

Golijov, being a contemplative Argentine-American composer with roots in classical music, incorporates folk melodies and dances from Latin America, Eastern Europe, and the Middle East into his compositions. On the other hand, Wainwright is an introspective pop artist who has a rich background in folk music and has shown interest in opera as well as composing. During the pre-concert discussion on Sunday, Wainwright mentioned that listening to Verdi’s Requiem when he was 13 had a profound impact on his life.

The heart of “Ainadamar” and its 80-minute “Dream Requiem” lies with poets. Much like how Lorca embodied himself, Wainwright weaves in recitations of Lord Byron’s 1816 “Darkness,” amid a score primarily built around the traditional Latin requiem text.

Each piece has its unique wellspring of sorrow. “Ainadamar” is actually an Arabic name for the Fountain of Tears, a location in Granada where Lorca was executed by a firing squad, likely due to his political beliefs and sexual orientation. In “Dream Requiem,” we mourn the deterioration of our environment. Byron penned “Darkness” as an answer to the 1815 eruption of Mt. Tambora in Indonesia, which shrouded sunlight across the globe for over a year.

1816, often referred to as “the year without a summer,” also marked a period of uprising in Spain. Fast forward fifteen years, and Spanish liberalist Mariana Pineda was put to death. The opera “Ainadamar” opens with the chorus singing a lament for her.

The 1816 “year without a summer” saw not only a lack of warmth but also rebellion in Spain. A decade and a half later, Spanish liberalist Mariana Pineda was executed. The beginning of the opera “Ainadamar” is set to a ballad sung by the chorus in her memory.

Voices

Commentary: How did Gustavo Dudamel end his L.A. Phil season? By saving the best for last

In simpler terms, although Gustavo Dudamel’s penultimate Los Angeles Philharmonic season might appear less ambitious on the surface, it was significant as he concluded it with Carlos Simon’s “Good News Mass” performance and an exceptional show at Coachella, which is a notable event in itself.

The stunning rendition of “Dream Requiem,” led by Grant Gershon and showcasing the Master Chorale, Los Angeles Children’s Chorus, a top-notch orchestra, the captivating Liv Redpath, and the powerful Jane Fonda as the gripping narrator, served as a fitting counterpoint to a more challenging presentation of “Ainadamar.

The opera, “Ainadamar,” holds strong connections to Los Angeles, having been co-commissioned by the Los Angeles Philharmonic. Its initial performance was tentative but showcased moments of exceptional musical skill. Under the guidance of Peter Sellars, both composer Osvaldo Golijov and librettist David Henry Hwang extensively revised “Ainadamar” for the Santa Fe Opera, resulting in a profoundly moving production featuring stunning graffiti-style sets by L.A.-based artist Gronk.

The relatively unknown opera with great musical potential initially caused some doubt, but ultimately became a crucial masterpiece for a new era. The local debut of this version, presented by Long Beach Opera, was followed by a stunning performance at the Ojai Music Festival, led by the Atlanta Symphony under Robert Spano’s direction and featuring Dawn Upshaw, who also contributed to the celebrated recording of the work.

The revival of the L.A. Opera is a fresh version that has been performed at Scottish Opera, Welsh National Opera, Detroit Opera, and, recently, New York’s Metropolitan Opera. This production is the creation of Brazilian choreographer Deborah Colker, who is renowned for developing the touring Cirque du Soleil show “Ovo.

Colker perceives “Ainadamar” as another captivating theatrical performance filled with striking visuals. The flamenco dancing, orchestrated by Antonio Najarro, is exhilarating and exceptionally well-executed. Stunning video projections by Tal Rosner are displayed on intricately beaded curtains encircling a central stage area where the majority of the action unfolds.

Instead of evading the complexities that magical realism poses – such as the meaning behind poetry, theater, political activism, life, and heritage, which can only be understood upon death – Golijov’s music score is equally elusive. It incorporates digital sound manipulations, where the resonance of gunfire serves as a backdrop to elaborate dance beats.

In this production, the three leading roles are filled by women: Margarita (portrayed by Ana María Martínez), Nuria (performed by Vanessa Becerra) and Lorca (played by Daniela Mack). Each of them delivers a compelling performance, and their collective portrayal at the end is simply stunning. However, due to production constraints, their presence may seem somewhat limited. Alfredo Tejada, making his first appearance with the company, offers a chilling portrayal of Ramón Ruiz Alonso, who apprehends Lorca. The resident conductor, Lina González-Granados, excels in emphasizing dance rhythms forcefully.

The opera’s awe-inspiring lyrical passages or hints of Golijov’s intricate, multidimensional musical influences might not have been as noticeable. However, the company compensates for this by offering enlightening podcasts and program notes that provide additional context to offset any confusion in the staging.

Similar to Golijov, Leonard Bernstein, Mahler, and Wainwright, each possessing a fundamental songwriter’s spirit, they all benefited from Gershon’s ability to convey rich lyricism in “Dream Requiem,” a piece that fundamentally resembles opera. His compositions evoke echoes of Verdi and the late 19th century, yet he introduces unique twists and turns in his melodies.

In the spirit of Golijov’s “Ainadamar,” Wainwright crafts his musical masterpiece gradually, starting softly and meticulously constructing his sonic edifice from a diverse palette of sounds and tones. He isn’t shy about employing grand effects, abundant percussion, monumental crescendos, and irresistible melodies that, should you wish, would never cease to captivate you.

Wainwright, like many composers, incorporates “Dies Irae” (Day of Wrath) in his requiem masses, yet unlike others, he demonstrates a more subdued approach during the “Sanctus,” often favoring quietness over enthusiasm. Conversely, he exhibits no leniency in the solo soprano part, while Redpath astonished listeners with her impressive performance as she navigated the challenging passages with ease.

Eventually, Wainwright constructed a modern-day bardo – a spiritual odyssey experienced post-death. The occasional interjections from Byron’s poem sent shivers down Fonda’s spine in her captivating narration, as the narrative portrays the disintegration of humanity following an environmental disaster. It seemed to echo a somber requiem, a warning for us all.

The single performance of “Dream Requiem” is not sufficient; it demands repetition. Last year’s recording from its premiere in Paris pales in comparison to the live rendition given by the Master Chorale at Disney. In various European locations and even for the Royal Ballet in London, “Dream Requiem” will be re-staged by several co-commissioners.

Who would have the courage to envision grandly and be pioneering enough to present “Dream Requiem” together with “Ainadamar” for the first time?

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2025-05-09 22:01

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