The concept of operas based on recent historical events has become so commonplace at the end of the first decade of the 21st century that it’s hard to believe that just over 20 years ago, the premise of Nixon in China was a contentious subject, and there was skepticism over whether it was even possible for an opera based on such recent history to have any artistic value. The assumption of the cynics was that the only conceivable motivation for creating such a work was to capitalize on its novelty, and would not admit the possibility that serious artists could treat such a topic with the intent to create enduring art. The term, docu-opera (like the descriptions of many artistic movements, including “baroque”), was originally intended to be derogatory, and that’s probably why John Adams continues to consider it an insult when it is applied to his operas, Nixon in China, The Death of Klinghoffer, and Doctor Atomic. For most people, though, docu-opera has become a value-neutral descriptor of a sub-genre, like opera buffa or verismo opera, and the elevation of several docu-operas to classic or near-classic status has largely removed the stigma. (It has to be admitted that some of the subjects chosen for operatic treatment — the Jerry Springer Show, Clarence Thomas’ Senate confirmation hearings, and the space shuttle Columbia tragedy, for instance — can still raise some eyebrows.) The second installment of this series highlights more examples of the blossoming sub-genre.
 
You can check out the first article in the series here.
 
 
The Death of Klinghoffer (1991)
 
After the tremendous success of Nixon in China in 1988, it was practically inevitable that its creators, composer John Adams, librettist Alice Goodman, and director Peter Sellars, would collaborate again. Their second opera, The Death of Klinghoffer, was jointly commissioned by the San Francisco Opera, Los Angeles Opera, Brooklyn Academy of Music, Glyndebourne Festival, and Théâtre Royale de la Monnaie, where it was premiered in 1991. The topic, the Arab-Israeli conflict as epitomized by the 1985 Palestinian hijacking of the cruise ship Achille Lauro, and the killing of Leon Klinghoffer, an American Jewish passenger, proved to be so controversial that the opera has rarely been revived. In the wake of the 9/11 attacks, it seems even less likely that opera companies will mount a work with such volatile subject matter any time in the near future, which is unfortunate because it contains some of Adams’ most deeply felt music. Its style is far removed from the minimalism of Nixon in China, and shows a broader expressive range and more sophisticated orchestration. Overall, though, the static quality of much of its dramaturgy, and the character of Adams’ text setting make it a less compelling opera than Nixon.
 
English director Penny Woolcock’s extraordinary film of the opera, which won the prestigious Prix d’Italia, makes a very strong case for it, however. Some of the finest music had to be cut, but this is arguably the most accomplished and persuasive film version of an opera made to date.
 
Kent Nagano, cond. - Adams: The Death of Klinghoffer
 
Prologue: Chorus of the exiled Palestinians
Act 1, scene 1: Ocean Chorus
Act 2, scene 2: “I must have been hysterical”
Act 2, scene 2: “Every fifteen minutes one more will be shot”
Act 2, scene 2: Aria of the falling body
 
 
Dead Man Walking
 
Jake Heggie wrote his first opera, Dead Man Walking, when he was composer in residence at the San Francisco Opera, which mounted its first production in 2000. The opera, which is based on the 1993 book of the same name by Sister Helen Prejean, has gone on to become one of the most popular and frequently produced operas of the new century. The excellent libretto, by the playwright Terrence McNally, traces the attempts of a nun to reach a hardened murderer on death row, his resistance to her attempts, and his ultimate redemption. The depiction of the murderer’s family, and the families of his two young victims gives the opera rich layers of emotional and ethical complexity. The familiarity of the story, the emotionally charged topic of the death penalty, and direct accessibility of Heggie’s music all contributed to its success, as well as the opportunities it gives singing actors to create vivid characterizations. The roles of Sister Helen and Mrs. DeRocher, the killer’s mother, are especially sharply etched, and in the first production and the recording they were memorably and sympathetically brought to life by Susan Graham and Frederica von Stade. The role of Joseph DeRocher, too, has become a star vehicle for young baritones.
 
Patrick Summers, cond. - Heggie: Dead Man Walking
 
Act 1, scene 2: “This Journey, this Journey to Christ”
Act 1, scene 8: “You don’t know what it’s like to bear a child”
Act 2, scene 2: “Sometimes forgiveness is in the smallest gesture”
Act 2, scene 3: “Well? Well?”
Act 2, scene 8: “He will gather us around”
 
 
The Manson Family
 
Philip Glass has said, “I am convinced that there is no more important composer working today than John Moran. His works have been so advanced [that they are] considered revolutionary.” The Boston Globe called Moran “a modern day Mozart.” Moran has left a surprisingly small digital footprint for a composer with such impressive endorsements, and has few commercially released recordings. His best known work is the opera The Manson Family, which was commissioned by Lincoln Center in 1990, and featured Iggy Pop and Terre Roche, with the composer as Manson. Moran, who wrote the libretto, is not concerned with the factual events of the case, or even a coherent linear narrative, information that “can easily be obtained by anyone walking into a bookstore.” The opera is more like a nightmarish collage of recollections by Manson and several of his followers, particularly Susan D. Atkins, whose lighthearted descriptions the murders are chilling. The music, which has an experimental rock sound, relies heavily on prerecorded samples and overdubbing, and more of the text is spoken than sung. The Manson Family may not have traditional opera fans as its target audience, or conform to many of the standard conventions of the form, but it works on a subconscious level to make a disturbing psychological impact, and is powerfully effective as a music theatre piece.
 
John Moran, performer - Moran:The Manson Family
 
Act 1: “The Prosecutor,” at Death-Train Station Five (The Tate House)
Act 2: SUBJECT: Lynette (Squeaky) Fromme
Act 3: Night Highway #3
Act 3: Squeaky in a boat
Act 3: SUBJECT: Charles (no name) Manson
 
 
X: The Life and Times of Malcolm X
 
Anthony Davis has made a name for himself both as a jazz musician and in academic composition. — he has taught at Yale and UC San Diego — and he has devoted much of his career to opera. His five operas have all been produced by major companies, and several have had subsequent productions. X: The Life and Times of Malcolm X (1985) was the first modern docu-opera, preceding Nixon in China by three years. The ambitious libretto, by Davis’ cousin, Thulani Davis, traces the life of Malcolm Little from his childhood, through his conversion to Islam, political activism, and assassination in 1965. Davis brings the various traditions of his background to the opera, and the orchestra is augmented by a substantial jazz ensemble. Based on the dramatic requirements of the story, Davis’ score incorporates elements of expressionism, minimalist repeating patterns, and various jazz styles. The opera’s eclecticism was initially controversial. While X received considerable critical acclaim, many of Davis’ jazz fans felt that its effectiveness as the depiction of the life of a great populist was compromised by the score’s heavy reliance on European modernist traditions.
 
William Henry Curry, cond. - Davis: X: The Life and Times of Malcolm X
 
Overture
Act 1, scene 2: The Pool Hall
Act 2, scene 1:
Act 2, scene 2: “Where we are now brothers”
Act 3, scene 1: “Betrayal is on his lips”