Ainadamar: A Tragic Ode to Freedom
Antoine François López
Posted: Jul 12, 2009 - 1:47:05 PM in
reviews_2009
Composite of Cincinnati Opera's Ainadamar (photos by Philip Groshong)
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Once again, Cincinnati Opera has outdone itself with its production of Osvaldo Golijov’s Ainadamar, third of the four Spanish-themed operas that make up its 2009 summer festival.
Performed June 9 and 11 at Music Hall, it was a most challenging project for both artist and listener, due
to its substantial elements of cultural diversity. However, with every
challenge, there must be strong foundational support. In this
regard, we have been blessed with the creativity, the immense
imagination and ingenuity of Osvaldo Golijov.
Born
in
La Plata, Argentina, Mr. Golijov grew up in an Eastern European
Jewish household with Romanian and Ukrainian parents. Having been
exposed to local folk and tango music, as well as the liturgical and
klezmer music of his Jewish religion, his music has become a mélange of
all these elements and has established him as one of the most
sought-after composers of our generation.
Ainadamar tells
the
history of the tragic death of Federico García Lorca. As a martyr of
Spain’s birth into a socialistic revolution, he fought against the
uprising of the Falangists lead by “Generalissimo” Franco. The opera
is told through the eyes of Margarita Xirgu, who is preparing to go on
stage for a role written for her by Lorca, that of Mariana Pineda, a
republican who was martyred for sewing a revolutionary flag in
opposition to the reign of Ferdinand VII of Spain. Mariana Pineda was
the source and inspiration behind Lorca’s literary works, whether
social, political or sexual.
The
opera is divided into three “images,” as opposed to the traditional
“acts” of an opera. The first image, that of Mariana Pineda, opens
with a balada, which is subsequently repeated at the beginning
of each image, as well as the closing cry for freedom, “Yo soy la
libertad.” Margarita reflects on her experiences with Lorca before his
death in a dialogue between her and Nuria, her favorite student. The
image closes with the haunting voice of the Falangist and Lorca’s
killer, Ruiz Alonso, singing in the flamenco style of “cante jondo.”
The focus of the opera turns to Federico in the second image. The balada repeats, this time more dissonant and irritated than the first. Margarita
tries to convince Lorca to escape to Havana, which Lorca refuses.
Lorca’s arrest results in his execution with a bullfighter and a
teacher. The image concludes with the gun shots of the execution,
cleverly sequenced through a laptop in daunting flamenco rhythms.
Margarita becomes the central figure of the third image, which consists
of her collapse and coming to terms with her imminent death, in
which she finds peace and freedom. The balada is repeated one final time. Rhythmically stretched and in a slower tempo than the first three, the balada is Margarita’s eternal cry for freedom in death, and hope for freedom in life.
Mr.
Golijov’s longtime collaborator, soprano Dawn Upshaw, was beautifully cast in
voice and character as the Spanish actress Margarita Xirgu. From the
first trumpet call in the opening balada, she portrayed the
suffering that consumed Margarita for her dead idol, Federico García
Lorca. Soprano Jessica Rivera played Nuria, the student of Margarita. Nuria’s
empathy for her loving teacher was exquisitely expressed by Rivera’s
seamless tone, and sentimental gestures of understanding for
Margarita’s tragic loss and constant suffering. Jesús Montoya in the
role of Lorca’s arresting officer, Ramón Ruíz Alonso, brought to life
the composer’s adaptation of the “cante jondo,” or “deep song.” His
character’s condemnation of Lorca was expressed as a gypsy cry
supported by the flamenco rhythmical, linguistic sense.
Last but not
least, was mezzo-soprano Kelley O’Connor in the role of Lorca. I must
admit in my short life span I have not heard such a beautiful contralto
tone. It has a sublime quality and luscious velvet color, rarely heard
in such a low register. However, Ms. O’Connor’s angelic personality,
which emanates not only from her person, but is transparent in her
voice, was no match for the character of Lorca, who was once described
by a close friend and soul-mate, Salvador Dalí, as having “a strong
physical presence, dominance, charm, and magnetism.”
In lieu of some diction and dancing inconsistencies, the grandeur of the larger picture made these but minutiae.
For
this production, the orchestra, comprising members of the Cincinnati Symphony with guest performers on flamenco guitar and percussion, was positioned center stage rather than
in the conventional pit. This detracted from the dramatic drive of the
plot, not to mention the various occasions where the balance
between orchestra, singer and chorus was offset by the mere fact of the
orchestra’s position. However, conductor Miguel Harth-Bedoya did a
superb job of making the orchestra and his leadership as unobtrusive as
possible.
The
star of this production is Cincinnati Opera. We, as Cincinnatians
should be proud of such a fine and prestigious artistic institution,
which has withstood the test of time approaching its 90th anniversary
next season. This company has dared to delve into uncharted territory
by investing itself wholly into bringing new, avant-garde productions
to life. As an audience, we have grown wiser and more knowledgeable, not
only about music and voice, but by gaining a better understanding of
cultural differences in a world where such boundaries are receding,
making us better human beings. Bravo Cincinnati Opera!
Su servidor,
Antoine François López
(Editor's note: Antoine López is a composer pursuing his undergraduate degree at the University of Cincinnati College-Conservatory of Music.)