MEMETERIA by Thomas May

Music & the Arts

Yuval Sharon’s Radiant New Interpretation of Meredith Monk’s Avant-Garde Classic

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Meredith Monk’s “Atlas” at the Los Angeles Philharmonic, staged by Yuval Sharon; photo credit (c) Mathew Imaging

Yuval Sharon bid adieu this past week to his three-year residency with the Los Angeles Philharmonic by boldly staging a work that changed his life: Meredith Monk’s opera Atlas, which before this had existed in just one production: the original, commissioned by Houston Grand Opera under David Gockley and staged there in 1991.

My review has been posted on Musical America (apologies for the paywall):

LOS ANGELES — A generation has already passed since Meredith Monk first charted an unprecedented operatic world in Atlas. Yet her ambitious stage work, which premiered at Houston Grand Opera in 1991, retains an aura of singularity — not just in its radiant music and almost entirely wordless libretto, but in the process through which Atlas was shaped as well. Monk cast aside convention altogether, building her opera from performance practices she had pioneered. 

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Filed under: Los Angeles Philharmonic, Meredith Monk, new opera, review, Yuval Sharon

Yuval Sharon on Three Years with the LA Phil

Looking forward to his upcoming Meredith Monk project:

Filed under: Los Angeles Philharmonic, Yuval Sharon

Yuval Sharon’s Berlin Flute Seeks to Put the Magic Back in Mozart

Papageno (Florian Teichtmeister) and Tamino (Julian Prégardien) in The Magic Flute credit: Monika Rittershaus : Staatsoper Berlin

Papageno (Florian Teichtmeister) and Tamino (Julian Prégardien), with dead serpent, in The Magic Flute (credit: Monika Rittershaus / Staatsoper Berlin)

BERLIN — In his program note for the new production of The Magic Flute that he directed for Berlin Staatsoper, Yuval Sharon recalls the image of a young girl in Ingmar Bergman’s 1975 film version who is repeatedly shown to be deeply absorbed watching a performance of Mozart’s opera unfold. She represents the ideal audience member for this work, according to Sharon, because she retains the childlike capacity for wonder.

My review for Musical America is now up here (paywall).

Filed under: directors, Musical America, review, Yuval Sharon

Der Kindheit Verzauberung

Tonight was the final performance of Berlin Staatsoper’s new Zauberflöte production, directed by Yuval Sharon. Very happy to have been able to catch this — report forthcoming for Musical America.

Filed under: Berlin Staatsoper, directors, Mozart, Musical America, Yuval Sharon

Olga Neuwirth’s Lost Highway at Oper Frankfurt

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left to right: Steffen Ahrens (Ensemble Modern), Elizabeth Reiter (Alice), and John Brancy (Pete); photo (c) Monika Rittershaus

My review of Olga Neuwirth’s extraordinary video-opera, directed by Yuval Sharon at Oper Frankfurt, is now online at Musical America:

FRANKFURT, Germany—Questions give rise to more and more questions in Lost Highway, including one that kept recurring to me as I became increasingly entangled in the performance: Why is Olga Neuwirth still so woefully underrepresented in America’s new music scene? The evening I spent with Oper Frankfurt’s production (September 19) proved to be so engrossing, so provocative in all the right ways, that the neglect of her fascinating body of work seems all the more outrageous—and our loss all the more to be pitied, until it’s remedied.

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Filed under: Musical America, new opera, Olga Neuwirth, Oper Frankfurt, review, Yuval Sharon

Coming Up at Frankfurt Oper: Lost Highway

Eager to cover the new production of Olga Neuwirth’s Lost Highway, which Yuval Sharon will direct at Frankfurt Oper in September.

Neuwirth remarks: The vibrant, unstable area between standstill and movement, between the living and the dead and between form and dissolution of form, may put us into a terrifying and, at the same time, fascinating vortex between dream and reality. In the end, everything remains a chronicle of violence, love, loss and pain. Perhaps it is exactly this end point which gives us the idea of a different script of life.

Filed under: Frankfurt Oper, Yuval Sharon

Lohengrin Stream from Bayreuth

If you missed the live stream last Wednesday (25 July, the traditional opening day of the Bayreuther Festspiele), through the magic of VPN you can still view a recording of the complete performance on BR-Klassik here. Apparently it’s still available to view until 31 December.

This staging by Yuval Sharon is a genuinely historic production. This is the first time an American has directed at Bayreuth. It also marks the achievement of a complete “cycle”: Christian Thielemann, 59, has now conducted all ten canonical Wagner operas at Bayreuth. And one of the production’s especially powerful elements is the portrayal of Ortrud — Wagner’s most fascinating villain? — in her return to the Green Hill after a long hiatus.

David Allen’s review for the New York Times is particularly astute:

[Sharon] is the closest thing that American opera has to a genuine avant-gardist. … This is a story, in the director’s mind, not about Elsa’s tragic failure to keep her faith, but about Lohengrin’s unreasonable demands, about the hypocrisy of his — and, therefore, modernity’s — inability to live up to his own vision for society. And who will make that hypocrisy clear, challenge it, overcome it? The women.

Christian Wildhagen, writing for the NZZ, was less swayed by the young American. He observes:

Doch dass die offenbar tiefschürfend reflektierte, mit allerlei Romantik und Farbensymbolik angereicherte Szenerie und das über weite Strecken biedere, ermüdend oft auf die Zentralperspektive fixierte Stehtheater im weiten Bühnenrund sinnstiftend (und nicht bloss illustrierend) ineinandergriffen – davon kann auch hier keine Rede sein.

The indispensable perlentaucher.de rounds up some of the German critical press here.

Filed under: Bayreuth Festival, directors, Wagner, Yuval Sharon

In Search of Mahlerian Music Drama at LA Phil

I covered a very unusual approach to Mahler’s Das Lied von der Erde for Musical America. This remarkably original staging by Yuval Sharon and the Chile-based Teatrocinema Company was performed this past weekend by the Los Angeles Philharmonic and Gustavo Dudamel, with soloists Russell Thomas and Tamara Mumford.
[review behind paywall]

Filed under: Los Angeles Philharmonic, Mahler, Musical America, review, Yuval Sharon

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