Bach On The Cutting Edge |
Review by Willard Manus
LOS ANGELES-- Johann
Sebastian Bach's MASS IN B MINOR was mounted recently by Los Angeles Opera
in an adventurous and memorable |
Featuring four imported
singers plus an ensemble of stage figures (members of Freyer's own theatre
group) backed up by the Los Angeles Chorus, MASS IN B MINOR proved a feast
for the eye as well as the ear and mind. The singers (and orchestra) were
stationed in the pit; the stage was dominated by a white box fronted by
a painted scrim through which mysterious stage figures could be seen,
most of the time in silhouette. Moving slowly yet gracefully, resembling
moon men or Giacometti notations, the figures did not try and visually
duplicate the text, but complemented it in highly abstracted yet arresting
fashion. |
Alan Burrett's lighting greatly enhanced this other-worldly vision, with shadows giving way at times to lush crimson and startling orange that suggested the colors of creation. In all, the visual elements helped the MASS take on varying dimensions and moods, ones that matched the text's cries from the depths of humanity, its pleas for God's mercy, understanding and compassion. The fusion of music, voice and sight provoked one's sensibilities into reacting to the MASS in new and unaccustomed ways. |
Domingo also reaffirmed his love of Zarzuela--Spanish and Latin American operettas. "There is a place for them here in Los Angeles," he said, "if only because of the city's large Latino population. I want to put on a full production of a zarzuela as soon as possible, if not at the Music Center, then in another large theatre in downtown Los Angeles." Domingo added that in future he intends to offer two lyric concerts a year, "with the orchestra on stage--and preferably with Kent Nagano conducting." The 2002-2003 season
includes three company premieres: Nabucco, War and Peace and Luciano Berio's
The Coronation of Poppea; five productions new to L.A.; revivals of The
Barber of Seville and The Flying Dutchman, and |