Opera has housed a protracted and curious fetish for the convent. Round a century in the past, composers couldn’t get sufficient of lustful, visionary nuns. Though comparatively tame subsequent to what was to observe, Puccini’s 1918 “Suor Angelica” revealed a convent the place worldly and religious wishes collide.
However Hindemith’s “Sancta Susanna,” with its startling love affair between a nun and her maid servant, titillated German audiences initially of the roaring twenties, and nonetheless can. A sexually and violently specific manufacturing in Stuttgart final 12 months led to 18 freaked-out viewers members requiring medical consideration — and sold-out homes.
Los Angeles Opera acquired within the act early on. A daring manufacturing of Prokofiev’s 1927 “The Fiery Angel,” one of many operas that opened the corporate’s second season in 1967, noticed, wrote Occasions music critic Martin Bernheimer, “hysterical nuns tear off their sacred habits as they writhe climactically in topless demonic frenzy.”
Now we now have, as a counterbalance to a lurid male gaze because the season’s new opera for L.A. Opera’s fortieth anniversary season, Sarah Kirkland Snider’s honest and compelling “Hildegard,” primarily based on a real-life twelfth century abbess and present-day cult determine, St. Hildegard von Bingen. The opera, which had its premiere on the Wallis on Wednesday evening, is the newest in L.A. Opera’s ongoing collaboration with Beth Morrison Tasks, which commissioned the work.
Elkhanah Pulitzer’s manufacturing is decorous and spare. Snider’s sluggish, elegantly understated and, inside bounds, reverential opera operates as a lot as a ardour play as an opera. Its issues and wishes are our twenty first century issues and wishes, with Hildegard beheld as a proto-feminist icon. Its characters and music so simply traverse a millennium’s distance that the Excessive Center Ages could be the day earlier than yesterday.
Hildegard is finest recognized for the music she produced in her Rhineland German monastery and for the transcriptions of her luminous visions. However she has additionally attracted a cult-like following as healer with an in depth data of natural treatments some nonetheless apply as different drugs to at the present time, as she has for her outstanding success difficult the patriarchy of the Roman Catholic Church.
She has additional reached broad audiences by means of Oliver Sacks’ ebook, “Migraine,” through which the broadly learn neurologist proposed that Hildegard’s visions have been a results of her complications. These visions, themselves, have attained basic standing. Recordings of her music are plentiful. “Lux Vivens,” produced by David Lynch and that includes Scottish fiddle participant Jocelyn Montgomery, have to be the primary to place a saint’s songs on the favored tradition map.
Margarethe von Trotta made an efficient biopic of Hildegard, staring the extraordinary singer Barbara Sukowa. A vital biography, “The Woman of Her Age” by Fiona Maddocks, adopted Hildegard’s canonization by Pope Benedict XVI in 2012.
Snider, who additionally wrote the libretto, focuses her two-and-a-half-hour opera, nonetheless, on however a vital 12 months in Hildegard’s lengthy life (she is believed to have lived to 82 or 83). A mom superior in her 40s, she has discovered a younger acolyte, Richardis, deeply dedicated to her and who paints representations of Hildegard’s visions. These visions, as unheard-of divine communion with a girl, draw her into battle with clergymen who discover them false. However she goes over the top of her adversarial abbot, Cuno, and convinces the Pope that her visions are the voice of God.
Mikaela Bennett, left, as Richardis von Stade and Nola Richardson as Hildegard von Bingen throughout a gown rehearsal of “Hildegard.”
(Carlin Stiehl / For The Occasions)
Hildegard, as some musicologists have proposed, might have developed a romantic attachment to the younger Richardis, and Kirkland turns this right into a religious disaster for each ladies. A co-crisis presents itself in Hildegard’s battles with Cuno, who punishes her by forbidding her to make music, which she ignores.
What of music? Together with being convent opera, “Hildegard” joins a lesser-known peculiar style of operas about composers that embody Todd Machover’s “Schoenberg in Hollywood,” given by UCLA earlier this 12 months, and Louis Andriessen’s perverse masterpiece a couple of fictional composer, “Rosa.” In these, one composer’s music one way or the other conveys the presence and character of one other composer.
Snider follows that intriguing path. “Hildegard” is scored for a nine-member chamber ensemble — string quartet, bass, harp, flute, clarinet and bassoon — that are members of the L.A. Opera Orchestra. Gabriel Crouch, who serves as music director, is a longtime member of the early music neighborhood as singer and conductor. However the allusions to Hildegard’s music stay modest.
As a substitute, every quick scene (there are 9 within the first act and 5 — together with entr’acte and epilogue — within the second), is about with a brief instrumental opening. That could be a rhythmic, Steve Reich-like rhythmic sample or a brief melodic motif that’s different all through the scene. Every creates a way of motion.
Hildegard’s vocal writing was characterised by effusive melodic strains, a method out-of-character with the extra restrained chant of the time. Snider’s vocal strains can really feel, nonetheless, extra conversational and extra suited to narrative define. Characters are launched and solely progressively given character (we don’t get a lot of a way of Richardis till the second act). Even Hildegard’s visions are extra implied than revealed.
Beneath all of it, although, is an alluring intricacy within the instrumental ensemble. Nonetheless with the assistance of a pair angels in brief choral passages, a lushness creeps in.
The second act is the place the connection between Hildegard and Richardis blossoms and with it, musically, the arrival of rapture and onset of an ecstasy extra overpowering than Godly visions. Ultimately, the opera, just like the saint, requires endurance. The arresting arrival of religious transformation arrives within the epilogue.
Snider has assembled a fantastic solid. Outwardly, soprano Nola Richardson can appear a coolly proficient Hildegard, the environment friendly supervisor of a convent and her sisters. But as soon as divulged, her radiant interior life colours each utterance. Mikaela Bennett’s Richardis contrasts together with her darker, highly effective, dramatic soprano. Their duets are spine-tingling.
Tenor Roy Hage is the amiable Volmar, Hildegard’s confidant within the monastery and baritone David Adam Moore her tormentor abbot. The small roles of monks, angels and the like are thrilling voices all.
Set design (Marsha Ginsberg), light-show projection design (Deborah Johnson), scenic design, which incorporates small churchly fashions (Marsha Ginsberg), and numerous different designers all operate to create a concentrated area for music and motion.
All however one. Beth Morrison Tasks, L.A. Opera’s invaluable supply for progressive and surprising new work, tends to go in for blatant amplification. The Herculean job of singing 5 performances and a gown rehearsal of this demanding opera over six days may simply end in mass vocal destruction with out assistance from microphones.
However the depth of the sound provides a crudeness to the instrumental ensemble, which will be all harp or ear-shatter clarinet, and reduces the individuality of singers’ voices. There may be little quiet in what is meant to be a quiet place, the place silence is practiced.
Possibly that’s the purpose. We amplify twenty first century worldly and religious battle, not going mild into that, or any, good evening.
‘Hildegard’
The place: The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills
When: By means of Nov. 9
Tickets: Performances bought out, however verify for returns
Information: (213) 972-8001, laopera.org
Working time: About 2 hours and 50 minutes (one intermission)
