Rufus Wainwright takes time to make music on his terms — hallelujah for that

As a musician and artist, I find Rufus Wainwright‘s journey to be truly inspiring. His resilience in the face of failure and his ability to find joy in the darkest of times is something that I deeply admire. The way he transformed his home into a makeshift studio during the pandemic, sharing his music with the world through daily “Robe Recitals,” is a testament to his passion for art and his unwavering dedication to his craft.

Rufus Wainwright expresses a sense of urgency, acknowledging the passage of time. At age 51, his mother’s untimely death at 63 served as a stark reminder that one should seize opportunities while they are present, for life could be fleeting, he shares.

In Wainwright’s cozy, round library nestled in Laurel Canyon, bathed in the October sun that warmed the bear rug and towering bookshelves, there was a sense of tranquility, yet the discourse started with the subject of mortality. His mother, Kate McGarrigle, was a folk singer-songwriter from Quebec who Wainwright described as “the most gifted individual I’ve ever encountered.” She possessed an extraordinary talent for discovering music in even the simplest things.

But when she died in 2010, there were several unwritten musicals and many unfinished songs.

He notes that she seemed to believe she was held back, lacking both the self-assurance and encouragement needed to achieve her most ambitious aspirations.

Wainwright is working diligently to catch up on missed opportunities and avoid wasting any of his own time. This translates into a jam-packed schedule filled with non-stop touring and performances worldwide, as well as a steady stream of new work. To date, he has released 10 studio albums and two original operas. In 2023 alone, his first musical, “Opening Night,” premiered in London’s West End, and his “Dream Requiem” for chorus and orchestra made its debut in Paris.

This week, I’m set to guide you through an incredible musical journey spanning 70 songs from my extensive repertoire over three unforgettable nights at The Wallis in Beverly Hills. “Rufus-Retro-Wainwright-Spective” promises a whirlwind education into the captivating world of a musician who has earned critical acclaim, boasts a devoted fanbase among the stars of Hollywood, yet remains elusive and hard to define.

I find it fascinating that there are many individuals unaware of my musical creations,” I mention, “yet surprisingly, quite a number recognize my speech, specifically, the sound of my everyday voice.

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He admits that they recognize him through his well-known rendition of Leonard Cohen’s “Hallelujah.” This song has gained a lot of popularity, as we now understand Donald J. Trump is among its fans. During his town-hall event in Oaks, Pa., earlier this month, Trump’s team played Wainwright’s “Hallelujah” from start to finish while the Republican candidate moved rhythmically and appeared to be attentively listening to every lyric.

Trump expressed his approval, saying, “What a wonderful tune,” as the large letters reading “TRUMP WAS CORRECT IN ALL THINGS” stood prominently in the background.

Following my meeting with Wainwright, this incident transpired a short while later. Wainwright quickly responded with a public announcement and faced inquiries from multiple media sources seeking his comments.

In my perspective, employing that item was almost sacrilegious in numerous aspects. Yet, as the song is exceptionally beautiful and evokes a sense of humanity, I couldn’t help but observe a man struggling on stage, someone who seemed to be hurting deeply and might have been reaching out for solace or redemption in some way.

Among the numerous high-profile actresses that Wainwright knows, Jamie Lee Curtis found it remarkable how he managed to extract a glimmer of hope from such a profoundly broken and dark period.

Listening to Rufus speak so eloquently about the song’s beauty, it oddly crosses my mind that such grace might be beneficial for him, perhaps offering some comfort and healing. I admire that Rufus has become a part of this unique blend of culture, politics, human emotions, and compassion amidst division,” Curtis expresses.

Wainwright often introduces refined artistry to settings that might not be typically sophisticated; for instance, he’s famous for the beautiful rendition of “Hallelujah” in the “Shrek” soundtrack. His musical style, labeled as “popera” at the start of his career by a friend, combines the appealing melody and infectious rhythms of pop with intricate chord progressions from classical music and a grand ambition reminiscent of Verdi’s scope.

It was inevitable that his ambition would culminate in creating an opera, and indeed, his debut work, “Prima Donna,” was unveiled in 2009, with “Hadrian” following suit in 2018.

Prior to the pandemic, Wainwright had been invited by the Greek National Opera to create a piece for their 200th anniversary celebration of the Greek Revolution of 1821. However, an unexpected series of events led him to compose a Requiem Mass inspired by Lord Byron’s poem “Darkness” instead. This poem is linked to that revolution. The Los Angeles Master Chorale was one of many organizations commissioning this work, and Jane Fonda will narrate during the U.S. premiere scheduled for next May.

Meryl Streep, along with another friend, narrated the world premiere by the Radio France Philharmonic Orchestra and choir in June, which turned out to be a great success. As Wainwright put it, “I managed to make the French almost fall to their knees, which was incredible.” This triumph came as a relief after the commercial flop of “Opening Night.” Inspired by a 1977 John Cassavetes film with the same title, Wainwright found himself in a deep depression a few years ago and had a vision of transforming it into a stage musical.

Originally, the play featuring Sheridan Smith as a character experiencing a psychological breakdown debuted in May. Unfortunately, it struggled to attract an audience and ended its run prematurely after just two months. Initially, Wainwright attributed the failure to British audiences being too traditional-minded. However, today he acknowledges that the production was misplaced in a large theater sandwiched between “Cats” and “Fawlty Towers: The Play,” and that it suffered from poor execution.

He notes that the ending didn’t quite hold together, yet he finds this adds an intriguing touch to its appeal, almost like a cult classic. Despite his own bruises, he seeks the positive, as the recording of his album with 25 original tracks took place during those final performances, and a cast recording will soon be available.

It appears that finding pleasure amid hardship is a recurring motif. Just like Wainwright, when the pandemic compelled people to stay indoors, he turned adversity into opportunity by sharing daily “Robe Recitals” or “Quarantunes” on social media platforms. Whether performing solo or with a small band wearing masks, he offered scaled-down renditions of his extensive catalog – from “Cigarettes and Chocolate Milk,” “Going to a Town,” to lesser-known tracks and covers.

On occasion, he’d extend invitations for friends to join him in his personal space, as he believes there’s a certain enchantment when an audience is present, similar to being in a support group setting. From the comfort of his living room couch, James Corden performed a duet of “Across the Universe”, and on another visit, Curtis arrived with her husband, Christopher Guest – a long-time friend of Loudon Wainwright III, Rufus’ father.

Curtis expresses, “I was filled with dread and anxiety,” but then found myself uplifted by the beautiful harmony of instruments and voices merging spiritually, emotionally. As a result, I felt improved afterward.

Last year, Wainwright discovered that many of his complexly orchestrated songs retained their strength when stripped down to their bare essentials. This insight led him to organize a series of acoustic shows themed around different topics – “Songs of Youth and Addiction,” “Songs of Love and Desire,” and “Songs of Contempt and Resistance” – accompanied by stories. The Wallis concerts are a repeat performance of this program.

In a welcome return to form during these challenging times, I found myself reminiscing about the early days of the pandemic as I watched Wainwright’s latest project. While it wasn’t without its share of difficult moments, there was something undeniably charming and poignant about revisiting those days through his lens. The nostalgia was palpable, and I found myself feeling a touch of romance for the simpler times we once knew.

He expresses his longing for the opportunity to fully immerse himself in his artwork and piano playing, losing track of time within that creative space,” he explains.

As an ardent admirer, let me share how this artist of mine harbors a multitude of untamed dreams – crafting a comic opera, recording an album in France, perhaps even composing a film score. Yet, before embarking on those adventures, he yearns to produce one final pop album, which might be his swan song. To achieve this, Wainwright expresses his intention to “delve deeply into some place, and spend as much time as I can.

The clock is ticking.

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2024-10-29 20:01