Opera Moderne has another rousing success on its hands with a superb production of Viktor Ullman's opera Der Kaiser von Atlantis, written in 1943 in the Nazi showcase concentration camp Terezin, with libretto by Peter Kien. The opera was seen in rehearsal after which both men were hustled off to Auschwitz and tragically exterminated. The opera has been produced in Europe but has been rather neglected in New York. The tragic circumstances of two talented lives cut short lends import to a work that easily stands on its own. For this, we thank Ullman's fellow prisoners who managed to rescue the work when Terezin was liberated as well as the spiritualist who purportedly communicated with Ullman's ghost in finishing the instrumentation! For bringing the work to life this weekend we thank Rebecca Greenstein, Executive Director of Opera Moderne as well as the Czech Center, the Austrian Cultural Forum, Deutsches Haus at NYU and Air Berlin.
Now, what about the work itself? It's a one act piece of great cynicism which makes one think of Brecht and Weill. Ullman's music is at times rather jazzy, referencing composers of many periods and scored for 13 instrumentalists, including a saxophone, a banjo and a harmonium; it never sounds boring or "academic". Conductor Ransom Wilson led the ensemble known as "Le Train Bleu" who performed with distinction.
The story is an ironic one in which the Kaiser (a stand-in for Hitler) tries to co-opt Death which results in Death taking a holiday. No one dies. The world is filled with the walking dead. A better image for prisoners in a concentration camp could not be imagined! In the middle of this, a soldier and a girl find love. At the end, Death takes the life of the Kaiser.
The work was directed by Markus Kupferblum whose artistic choices astonished and delighted us. The use of "steampunk" as a design element for the costumes gave delight to the eye and relief from the sense of grief. Angela Huff, the costume designer, even outfitted the staff in extravagant attire.
The voices were excellent without exception. Baritone Vince Vincent sang the title role. The role of Harlekin was illuminated by Brian Downen's fine tenor. Mezzo Elspeth Davis enacted Der Trommler; Jeffrey Tucker made a fine Death. The romantic couple comprised tenor James Baumgardner and soprano Gan-ya Ben-gur Akselrod. Baritone Kelvin Chan was Der Lautsprecher.
Vicki Reynolds' choreography was performed by Ariel Seidman-Wright and Jasmine Ladiner. The effective make-up design was by Rachael Wagner.
The work is scarcely more than an hour in duration and we found ourselves wishing there were more to see and hear; a better recommendation could not be made. We can scarcely wait to see what Opera Moderne comes up with next!
(c) meche kroop
In last night's Cosi Fan Tutte at Juilliard we were enveloped in romantic entanglements as experienced by two young couples. In a fortuitous coincidence last night's Liederabend comprised Hugo Wolf's Italienisches Liederbuch, settings of anonymous Italian poetry translated into German by Paul Heyse. As presented by Vocal Coach Ken Noda, five different couples enacted (and we do mean "enacted") various stages in different kinds of romantic relationships. This enabled 10 gifted young singers from the Institute for Vocal Arts and 5 collaborative pianists the opportunity to experience an entire spectrum of emotions from delight to despair, from triumph to abjection, from abandonment to enmeshment, from satisfaction to frustration, from scorn to adoration. One of the glories of this style of presentation is that the singer not performing has the opportunity to react to the dramatic content of each song as sung by his/her partner.