Nixon in China
Prior to the premiere of John Adams’ NIXON IN CHINA, the work was sometimes derided as “singing headlines” and an unfit topic for an opera. But Opera has a long history of espousing a political agenda. The two operatic giants of the Nineteenth Century, Verdi and Wagner, were every bit as well-known for their work in the unification of their respective countries as they were for their skills as composers. Of course, government censors forced them to send their message covertly. But there’s no doubt that Italians of the Risorgimento Period understood that Verdi’s Hebrew slaves suffering under the yoke of Babylon had a contemporary counterpart in Italy’s struggle against Austrian oppression.
Adams and his librettist, Alice Goodman, had little fear of doing time in jail for their collaboration, but they faced other problems. The events being dramatized had been media milestones and their images were fresh in the minds of the audience. Not to mention that many of the characters involved were still alive. Their solution was to rely on Goodman’s poetic skills to create a verse libretto and to move, as all good drama does, from the overtly political to the personal. The resulting production was one of the major artistic triumphs of the 80’s and it revitalized interest in homegrown opera productions, not only from Adams, but from many contemporary composers.
Despite its iconic status, NIXON IN CHINA has not been seen locally since 1990. (Though a recent Vancouver production during the Olympics and the Met’s announcement that they have added it to next season’s roster seem to be signaling a turnaround.). Ambitious and large-scale, the opera would be daunting to the best funded of opera companies, but that didn’t dissuade the always intrepid Long Beach Opera from producing it.
The highly anticipated production, which opened at the Terrace Theatre over the weekend, is a rousing musical success. Director, Peter Pawlik and the production staff wisely decided that the bulk of the resources should be expended on getting the right singers and that, impressive as the appearance of an entire plane is, the scenic elements were not the foundation of the opera. So Wilhelm Holzbauer’s set design pares down the mammoth reality to its spare essentials; cheekily incorporating deliberately cheesy elements. Pawlik’s direction is similarly scrappy, emphasizing the satiric and surreal aspects of the story. No doubt the passage of another couple of decades from the original events makes this interpretation easier.
Michael Chioldi is a stong-voiced, virile and, surprisingly sympathetic Nixon. His brash mannerisms and self-absorbed pomposity perfectly capture the spirit of the president while his sturdy, lustrous tones sent his phrases soaring. John Duykers reprised the role of Chairman Mao which he’d originated in the original production. His still-powerful tenor commanded the high-flying lines with the kind of authority and specificity that can only come with long term familiarity. But this was no simple resurrection of a performance. This Mao was much more energetic and playful, while losing none of his craftiness. Roberto Gomez was a poignant and expressively sung Cho En Lai-- in Goodman’s libretto, the character with the most universal view of the history being made.
Suzan Hanson brought poise, sensitivity and polished vocalism to the role of Pat Nixon while Ani Maldjian fearlessly attacked and conquered the punishing tessitura of Madame Mao. Kyle Albertson brought vigor and energy to the underwritten role of Kissinger while Ariel Pisturino, Leslie Ann Cook and Peabody Southwell dispatched the roles of Mao’s Secretaries with style. In truth the Chorus was a bit sloppy both musically and physically but it’s a small quibble when measured against the other musical riches of the evening.
The diction was exemplary across the board though, it must be said, the performers and orchestra were miked. This was initially surprising, but was done well and proved less distracting than usual. Though it lent a certain tinny shrillness to some of the high notes.
Artistic Director Andreas Mitisek led a well-paced and colorful reading of the score. There is only one more chance to view this production and I would urge anyone interested in opera or contemporary music to sieze it.
Terrace Theater, Long Beach March 20 & March 28, 2010
(562) 432-5934 or www.longbeachopera.org