Interludes

THE HANGOVER REPORT – Osvaldo Golijov’s fiery opera AINADAMAR makes its Met debut in an evocative, dreamy production

• By drediman
• October 24, 2024
• No Comments

The major mounting of any contemporary opera is cause for attention — especially during this challenging period for that most extravagant of art forms — which is the reason why I made it a point to catch the Metropolitan Opera’s premiere of Ainadamar (which translates in Arabic to “Fountain of Tears”). The 2003 piece is the creation of Argentinian composer Osvaldo Golijov, who aptly described it as an “opera in three images”. Featuring a libretto by Tony-winning American playwright David Henry Hwang (currently represented on Broadway this fall with Roundabout Theatre Company’s excellent revival of Yellow Face), the opera is a meditation on the life and works of Spanish poet and playwright Federico García Lorca, who was executed by fascists for his socialist views and sexual orientation.

Hwang’s libretto smartly eschews naturalism, instead opting for an abstract fever dream quality that fluidly meshes various realities, both historical and fictional. The opera is largely told from the hindsight perspective of of Lorca’s muse, Catalan actress Margarita Xirgu, who occasionally transmutes into the role of Mariana Pineda, a revolutionary character in one of Lorca’s plays. Although Golijov’s score — in turn fiery and suspended in a dream state — is driven by the inherent passion of flamenco, it’s not the only musical style coursing through the piece. Folk music and jazz are also a part of the opera’s musical DNA, as is the minimalism of some contemporary operas (the works by John Adams particularly come to mind). Evocative electronic sound bytes even find themselves seductively weaving in and out of the composition. Brazilian director and choreographer Deborah Colker’s production is fluid and impassioned, beautifully integrating video projections and an enhanced sound design (I really do believe that some sort of amplified hybrid is the future of operatic soundscapes) in an overall package that’s sleek and evocative.

Conducting the Met’s maiden run of Ainadamar is Miguel Harth-Bedoya — in his house debut — who handily navigated the different moods and colors of Golijov’s accessible, atmospheric score. Leading the cast as Margarita/Mariana was the magnificent company favorite Angel Blue, whose full, creamy soprano bloomed with increasing extravagance as the performance wore on. Velvety-voiced mezzo-soprano Daniela Mack — in a trouser role — brought ample personality to her performance as Lorca, while Alfredo Tejadabrought’s exciting flamenco vocals and Elena Villalón elegant soprano enlivened their portrayals of the ruthless Falangist politician Ramón Ruiz and Margarita’s acting student Nuria, respectively.

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AINADAMAR
Opera
The Metropolitan Opera
1 hour, 20 minutes (without an intermission)
In repertory through November 9