The opera is simply one of the best contemporary operas I have ever heard. The libretto of the opera is very close to the film. At first glance, it seems like a problematic enterprise; the film is about went some guests who find themselves unable to leave a dinner party. Bunuel, when asked why the guests could not leave, said that there is simply no explanation. It's a kind of surrealistic film, but done in Bunuel's particular kind of deadpan way. For example, the scene in the opening part of the film where the guests arrive is simply repeated; with no apparent logic. (Apparently in some DVD editions, overzealous editors eliminated the repeat, think it was an error.) There are no exaggerated, expressionistic camera angles or things like that. Thus turning the film into opera, which among other things is about music which heightens the emotional intensity of any given moment, would seem to be crazy idea. But Adès makes it all work, and the opera is gripping from beginning to end, and you quickly forget the film. The opera is what Adès calls a "symphony opera"; that is, a lot of what is important to the drama is what goes on in the orchestra. And what an orchestra! Ades has few equals in his ability to make an orchestra sound new and different. The orchestra included an early electronic instrument the ondes martinet, 8 toy violins, and mostly like truckloads of percussion instruments. And Adès also alludes frequently to all kinds of genres of music; there are lots of dances, etc. And there are guitar solos, piano solos, and many eccentric groupings of instruments.
And yes, there are singers. Unusually for an opera, there are about 15 singers who are on stage almost the entire time, and who are more or less equally the focus of dramatic attention. The first time I heard the opera, it was quite disconcerting when all 15 characters arrive and start singing, virtually all at the same time. If you are trying to figure who is who, forget it. The second time, I was less anxious and then subsequently was dazzled by the polyphony. Ades and his librettist do include several important interpolations into the film's scenario; these are aria like moments, when the characters do what opera characters do, and sing a extended aria that reflects the emotion of the moment. These are among the most striking moments in the opera.
Oh, and there were sheep. Live ones appear on the stage before the opera starts, and mercifully, a fake one during the opera. If you've seen the film, you know what happens to them. And a bear (a costumed human); in the film there is a real bear.
The truth of the matter is that I could happily write a whole paper about the opera (and indeed people already have done that), but I don't have the time and the energy to do that.
But I can't wait to see it again.
A few pictures from websites...
We did the full Adès experience. Juilliard had a nice evening where they played several chamber works that had inspired him, and then several chamber works of his. All of this sandwiched around a chat with him, which was both informative and entertaining. Among other things, we found out that he taught himself how to play the piano at a very young age, and apparently his parents would indulge him and have him perform for their guests, until a musician appeared and convinced his parents that he should actually have lessons and learn how to play the piano properly. And that his first "composition" that he wrote down turned out to be the intact melody of the middle section of a Chopin polonaise. And that he was a "truly terrible six year old". We also heard Adès conducting the Juilliard Orchestra on another night. The program included two minor but fascinating Adès works for orchestra and Stravinsky's "Symphony in Three Movements". In the friendly confines of Alice Tully Hall and with a large orchestra of Juilliard students, this was a great performance of the Stravinsky. Adès is an enthusiastic and very competent conductor. Unfortunately, the program also included the Elgar Cello Concerto, which I could have happily lived without. My reception of the piece was not helped by the performance of the soloist, who belonged to the school of cellists who insist on no matter what, the cello must make a big and beautiful sound. Otherwise known as "every note must emote". So intense vibrato was virtually constant, and contrast of tone was virtually non-existent. I don't blame the young soloist; there are many big name famous cellists who play like that, too.
