Composer: John Adams
Works: El Niño
Performers: Dawn Upshaw (soprano), Lorraine Hunt Lieberson (mezzo-soprano), Willard White (baritone), Theatre of Voices (counter-tenors: Daniel Bubeck, Brian Cummings, Steven Rickards), London Voices, Maîtrise de Paris Children’s Choir, Deutsches Symphonie-Orchester Berlin, conducted by Kent Nagano
Recording: DVD Video 100 220
Label: ARTHAUS MUSIK
John Adams’ El Niño emerges as an audacious and multifaceted exploration of the Nativity story, structured more as a modern oratorio than a conventional opera. Premiered at the Théâtre du Châtelet in Paris in 2000, this work reflects Adams’ continual evolution as a composer, utilizing a range of influences from traditional choral music to contemporary idioms. The collaboration with librettist Peter Sellars further enriches the narrative, allowing for a pluralistic representation of Mary that encapsulates various cultural and emotional dimensions, a complexity that challenges the viewer to grapple with deeper societal themes while engaging with the familiar Christmas narrative.
The performance, led by Kent Nagano, is a tapestry of colors and textures, with the Deutsches Symphonie-Orchester Berlin offering an expansive orchestral palette. The opening piece, “I sing of a maiden,” sets the stage with its ethereal orchestration, which seamlessly blends shifting rhythms and harmonies. The interplay between the counter-tenors of the Theatre of Voices and the orchestra creates a vivid soundscape that enhances the narrative depth. Dawn Upshaw’s rendition of the Magnificat stands out, embodying both conviction and sensitivity, though the visual choices sometimes distract from her poignant interpretation. Lorraine Hunt Lieberson complements this with her warm timbre, bringing an emotional sincerity that resonates deeply with the audience.
Technically, the performance is commendable, with each singer demonstrating exceptional control and expressiveness. Willard White, in his dual portrayal of God and Herod, captivates with his robust vocal presence, embodying the contrasting natures of fear and benevolence. His performance in “A Palm Tree” is particularly moving, as he shares the stage with a children’s choir, which adds a haunting innocence to the closing moments. The visual component, while ambitious, occasionally veers toward the obscure, with some imagery potentially alienating to those less attuned to the layered symbolism intended by Sellars and Adams.
The engineering quality of the DVD is noteworthy, capturing the dynamics of the live performance with clarity. The balance between soloists and orchestra is well-managed, allowing for the nuances of Adams’ score to emerge without overwhelming the vocal lines. The integration of on-screen imagery, although at times disjointed, offers moments of profound visual poetry that complement the music. The decision to feature a contemporary Hispanic “Mary” alongside the traditional nativity figures is an evocative choice, prompting viewers to reflect on the marginalized stories within the broader context of the Nativity.
El Niño stands as a significant addition to the canon of contemporary classical music, merging traditional themes with modern perspectives. The synthesis of varied musical styles, combined with the rich performances from an accomplished cast, creates a compelling experience. This DVD is a worthwhile venture for those seeking both musical beauty and a challenging artistic statement, inviting repeated viewings to fully appreciate its intricate layers and profound implications.
