The Michigan State University Opera Theater made a grand statement over the weekend, by mounting a production of the new opera by acclaimed composer Ricky Ian Gordon, "Grapes of Wrath".
Steinbeck's classic novel is the searing story of a poor Oklahoma family during the dust-bowl Depression period of the 30s, as they trek to California to find work, stay alive and remain a family unit.
This emotional and monumental story is perfect for an opera. Gordon's work (written for the Minnesota Opera) is almost four hours long and paints with the large musical brush used by Verdi, Puccini, Wagner and others.
Director Melanie Helton should be given kudos for attemping this challenging, contemporary music with her students. The music is filled with rich chords layered with close and tight harmonies. It takes a while to adjust your ear to understand the music language, but as the opera continues and the story unfolds, the music becomes ever more listenable, moving and powerful.
In general, however, the tempos rarely get beyond the ballad-style that is the majority of the opera. There were a few up-beat scenes, like the barker-like car salesmen and the cute restaurant sequence, but they were few and far between. The first act especially was slow with little stage action and there were many sleepers in the audience.
Zachary Campbell designed a stunning three-story set, with a wonderfully conceived truck that took the entire Joad clan out West. But the huge set was placed very close to the front of the stage, giving the actors little room to play their scenes. Also, that impressive truck was stuck inside the set, limiting its visual effectiveness.
But the singers (chorus and soloists - about 45 in number) were all excellent and sang this evocative piece with great conviction. Katie Ross was superb as Ma Joad, and Joshua Baum made a real impression as Jim Casey, the defrocked preacher (There were double casts during the weekend).
Everyone in America knows the story of Grapes of Wrath and they know that it is a dark story with little sunshine for the audience to enjoy. Gordon (with librettist Michael Korie) wrote a great opera that challenges the singers as well as the audience, but pacing and lighting could have improved the flow of the piece. Despite those problems, this was a production that MSU and Melanie Helton can be proud of. It packed an emotional punch and told a rich story. For sure, it was an unforgettable educational experience for the students.
Comments on the arts scene in and around Lansing, Michigan and beyond
Tuesday, April 5, 2011
DSO Update
On April 4th, an announcement was made that the Detroit Symphony Orchestra and its musicians reached a tentative agreement, likely ending a six-month strike.
The agreement did not happen soon enough to save the ailing orchestra, however. After the previous breakdown of talks in January, the entire percussion section quit - some left for other orchestras, some just left. The DSO also lost principal flutist and Ann Arbor native Philip Dikeman who became a professor at Vanderbilt University in Nashville.
It takes great musicians to make great orchestras, and the loss of these valuable musicians is critical to its quality. Orchestras take great care and many years to choose its musicians. And then it takes even more years for the established ensemble to wrap itself around the new player.
Mark Stryker, from the Detroit Free Press, wrote, "The strike has taken an enormous tool. The DSO has lost millions in ticket income. Subscriptions have fallen to their lowest level in decades and it could take years to woo back audiences - and donors. The strike has also cost each musician at least $55,000."
What is the future of the Detroit Symphony? There are too many factors in play to give a good answer. We only have further questions:
In the current economic climate, can suffering Detroit support an orchestra of this reputation?
With less music taught in schools, is there still an audience for great acoustic symphonic music?
Should orchestras look at themselves more objectively - the style of the concerts, the music that is programmed, and the pay of the administrators and musicians - to make their survival more assured?
Are there more creative ways to finance orchestras?
One thing is clear: The once-proud Detroit Symphony Orchestra has been dealt a severe blow. Their future is still uncertain.
The agreement did not happen soon enough to save the ailing orchestra, however. After the previous breakdown of talks in January, the entire percussion section quit - some left for other orchestras, some just left. The DSO also lost principal flutist and Ann Arbor native Philip Dikeman who became a professor at Vanderbilt University in Nashville.
It takes great musicians to make great orchestras, and the loss of these valuable musicians is critical to its quality. Orchestras take great care and many years to choose its musicians. And then it takes even more years for the established ensemble to wrap itself around the new player.
Mark Stryker, from the Detroit Free Press, wrote, "The strike has taken an enormous tool. The DSO has lost millions in ticket income. Subscriptions have fallen to their lowest level in decades and it could take years to woo back audiences - and donors. The strike has also cost each musician at least $55,000."
What is the future of the Detroit Symphony? There are too many factors in play to give a good answer. We only have further questions:
In the current economic climate, can suffering Detroit support an orchestra of this reputation?
With less music taught in schools, is there still an audience for great acoustic symphonic music?
Should orchestras look at themselves more objectively - the style of the concerts, the music that is programmed, and the pay of the administrators and musicians - to make their survival more assured?
Are there more creative ways to finance orchestras?
One thing is clear: The once-proud Detroit Symphony Orchestra has been dealt a severe blow. Their future is still uncertain.
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