Even before the 2007-08 San Francisco Opera season began, the world premiere of Appomattox was awaited with great anticipation and curiosity. Using the backdrop of the final days of the Civil War, Appomattox centers around General Robert E. Lee of the Confederacy surrendering to the Union’s General Ulysses S. Grant at Appomattox Court House, Virginia; and the far-reaching effects of these events, both immediate and those resonating up to a hundred years later.
But Philip Glass’ latest oeuvre, which opened October 5th at the War Memorial Opera House, was hit and miss: Several aspects of the performance sparkled brilliantly, but others floundered disappointingly.
Appomattox divides its content and energy to address the struggles of the individual characters as well as the nation as a whole. The first act humanizes the war by focusing mainly on the opposing generals. By focusing on their contrasting personalities and strategies and with contributions from the women in their lives, the audience is allowed into the generals’ psyches. Cast in a realistic light, their strengths as well as their personal demons are revealed. What one soon realizes is that despite their differences, their desire for reconciliation and for the nation to begin healing is what makes them truly admirable leaders. But in spite of this triumph, the first act ultimately falls flat because there is no building tension or development of conflict. Nothing is done with the characters after they are developed. As a result, the hour-long first act loses steam until its final scene. Multiple award-winning librettist Christopher Hampton is at his best, incorporating historical fact to recreate the exchange of cautiously crafted dispatches between the two general that culminates in their fated meeting; it is like watching two chess players countering each other’s moves until Grant ultimately checkmates Lee and his Confederate forces.
The other facet of the struggle is the larger conflict between the North and the South. The war aspect obviously has the power and drama to add the necessary tension to the story, but the sacking of the Confederate capital of Richmond fails to move the audience despite powerful apocalyptic setting by Riccardo Hernandez. Not until the second act are the struggles of the nation well executed and fully realized. As Lee and Grant negotiate the terms of surrender, the scene is interlaced with flash-forwards that reveal the inequality that will reverberate well into the 20th century. Four civil rights marchers protesting the death of civil rights activist Jimmie Lee Jackson and the diatribe by Ku Klux Klan member Edgar Ray Killen, portrayed chillingly by Philip Skinner, are two of the most powerful scenes that jolt the audience to rapt attention.
Glass’ orchestration, conducted with great aplomb by Dennis Russell Davies, is yet another victory for the opera. Davies, a longtime collaborator of Glass, deftly leads the opera orchestra. Often the instrumental accompaniment is dramatic and powerful, successfully adding depth and color to the opera. It is classic Glass, with repetitious motifs that gain energy through simple variations. Unfortunately, it overpowers the vocals. Glass keeps the vocals in the range of the spoken voice because he believes this allows for the English text to be better understood without having to read the lyrics projected above the stage. As a result, the songs are neither dynamic nor lyrical. For me, part of the enjoyment of opera comes from marveling at the performers’ vocal range. Furthermore, many of the pieces were neither memorable nor captivating except for a few interesting ensemble pieces such as the African American regiment’s “Marching Song of the First of Arkansas” and the freed slaves’ hymn “O Clap Your Hands.” Both have lyrics from the original source set to new music by Glass. But for the majority of the performance, it feels as though the words are being spoken to music.
It was a shame because several of the performers had beautiful voices which could have added to their ability to express their characters’ emotions and feelings. Dwayne Croft as Lee and Andrew Shore as Grant were quite impressive despite the shortcomings of the music. Heidi Melton and Rhosalyn Jones, both current Adler Fellows (part of SF Opera’s residency program for advanced singers) did outstanding jobs as Julia Grant (Grant’s wife) and Mary Todd Lincoln (Lincoln’s wife), respectively.
Though far from perfect, Appomattox did show glimpses of brilliance. It was an admirable attempt to extend beyond the typical offerings at the opera. David Gockley has done an excellent job in creating a season that will appeal to a variety of patrons. While some may be interested in new pieces such as Appomattox, the season has its share of classics – Puccini’s Madama Butterfly and Mozart’s The Magic Flute – as well as new interpretations of classics – Wagner’s Das Rheingold. With the aim of making opera accessible to everyone, free programs such as Opera at AT&T Park as well as free concerts at Stern Grove and Golden Gate Park earlier this year make this a reality. So check out this season’s offering at www.sfopera.com. You’re bound to find something that’s just right for you.
Appomattox
Various dates through October 24
Tickets: $15 to $275
Originally published:
http://www.ucsf.edu/synapse/articles/2007/Oct/11/appomattox.html
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