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Photo: Anne Leibovitz
But what about the music? This is an opera, after all. The Civil War is an interesting subject matter, and the lives of Grant and Lee, as well as the women in their lives, certainly has the potential to intrigue even further. And to the extent the core subject matter, suggested strongly in the title, “Appomattox,” is diluted some with another predictable civil rights drama about racism in America, told through the eyes of another historical character, on balance, “Appomattox,” has the potential to be strong human drams about an event and moment in history that still interests many people. But without a score to carry it, its fate, compelling story or not, will not be promising. Audiences know the story; they want to hear the music.
Glass has held the score close, at least up to the news conference held last July when we were given an opportunity to hear piano and vocal glimpses of what was coming.
His prior operatic endeavors have produced a mixed bag of results, from the electronic, non-melodic and chaotic assaults on our ears brought on by an agonizingly repetitive (five hours worth) of dreadful score and libretto in a package called, “Einstein on the Beach,” (1976) to the still electronically heavy but somewhat more melodic “Satyagraha,” that gave a glimpse into the flare Glass had for interesting harmonic flourishes (1981) to the more traditional and melodically darker, still electronic sounds that haunt “Akhnaten,” (1983). What can be said of Glass’ music up to this point, is that it's generally minimalist in style that, at worst, borders on absurd and grating, and, at best soars near the profound when he puts his mind to it.
The bits and pieces from “Appomattox” suggest something closer to melodic and periodic, but not enough has been released to say with any definition what Glass will actually produce and which direction he will take his audience. This opera has the potential. Glass clearly has the potential and solid compositional ability to write something truly memorable and worthy. But will he?
If “Appomattox” hopes to make its way onto the list of most often requested operas, Glass will have to focus on a blending of melody and dramatic punctuation to fit the story – short of that, the costumes will hang for a long while between cleanings.
“Appomattox” will premiere at San Francisco Opera this month, October 5, 10, 14, 16, 18, 20, 24, 2007.
And to the extent the core subject matter, suggested strongly in the title, “Appomattox,” is diluted some with another predictable civil rights drama about racism in America, told through the eyes of another historical character, on balance, “Appomattox,” has the potential to be strong human drama. But without a score to carry it, its fate, compelling story or not, will not be promising. Audiences know the story; they want to hear the music.
