Miami Music Festival Presents Exciting Evening of Modern Opera
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| Maggie Kinabrew and Alejandra Martinez in Osvaldo Golijov's Ainadamar. Photo, Angelica Perez |
We came for the intrigue of Nico Muhly’s Dark Sisters,
but were on our feet for the mesmerizing performance of Ainadamar. The Miami Music Festival, under the leadership of
Artistic Director, Michael Rossi, presented a fabulous evening of new opera.
The excitement was palpable from the first downbeat, conducted by Francesco
Milioto. Argentinian composer Osvaldo Golijov’s Ainadamar began the
evening, with a libretto by American playwright, David Henry Hwang. In the
production, Margarita Xirgu tells the story of her lover’s demise, playwright
Federico Garcia Lorca, in a series of flashbacks.
Soprano, Alejandra Martinez, commanded the stage as
Margarita Xirgu in a role she has made her own. Martinez captivated the
audience with Xirgu’s sultry melismas, and showed the immense power of
her voice in the opera’s final scenes. Mezzo-soprano
Kristyna Gočová cut a boyish Frederico Garcia Lorca and soprano Maggie Kinabrew
dazzled with Gočová and Martinez in the trios.
Not a moment was wasted in this production of Ainadamar. Director,
Jennifer Williams seamless transitions and fluid imagery beautifully paired with the sonic world of a musical composition combining electronic sounds and
orchestra. Williams’ staging celebrated the fractal nature of the score,
matching every angle with visceral meaning. Set Designer Alyiece Moretto
provided a delicate backdrop that supported the violent and stunning
projections of designer, Steven Covey.
Nico Muhly’s Dark Sisters, an opera with a libretto
by Stephen Karam, took the audience inside the inner workings of a Mormon
fundamentalist sect after being raided by child support services. The true
success of this production was the ability of the performers to develop these
complex characters. Muhly’s score gives extensive, and sometimes exhaustive
allotment to each individual character, a challenge to be sure for any young
singer.
Sophie Thompson sang beautifully as Eliza, giving dimension
to the wife of the Prophet, determined to prevent her daughter, Lucinda, from
suffering the same fate as her own. Jose Vazquez communicated a strong and
domineering presence as the Prophet, a role which later transitioned into the
character of Larry King, as the wives are interviewed after the loss of the
children. Vazquez somber voice and pristine delivery of text held us firmly in
this fundamentalist world. Charlotte Jackson as wife, Zina, showed vocal
athleticism and grace.
Williams deliberate staging gave space for the drama, and
each character was allowed to develop before our eyes as the score allowed.
Subtle gestures and movements were magnified in the openness of the production.
The blue and pink hues of the women’s dresses, designed by Patricia Hibbert,
stood out amongst the white chairs and neutral tones of the set.
Miami Music Festival has triumphed in its production of
these ambitious operas. We want more.
Next up in the Miami Music Festival, Mozart’s The Magic
Flute June 27th and 30th, at Temple Emanu-El, 1701
Washington Ave in Miami Beach and the Marriage of Figaro, June 28th
and 29th at Miami Beach High School.
