I knew that would eventually see an opera at the Met a part of my "New York Experience" but did not know what I would see or when I would see it. I decided to stand in line for a rush ticket for John Adams' Nixon in China. The wait in line was long (three and a half hours) but I had several pleasant people to talk to to pass the time.
Adams has established a niche for himself in the opera world by basing all of his operas on important current events that seem destined to have historical significance. Such operas have come to be known as "newsreel operas." Nixon in China, which received its premiere at the Houston Opera, is the second of Adams' operas to be performed at the venerable Metropolitan Opera. The first was his opera Dr. Atomic.
The person sitting by me (I got a pretty good orchestra seat for $20) noted that the audience was a somewhat different one than normally come to Met performances. Opera audiences tend to be a special breed and they have historically been devoted to the established repertoire and not as open to new works.
John Adams conducted the work and the performer who played the role of Richard Nixon at the premiere and who has been most associated with the role, baritone James Maddalena, was again in this role. The cast was uniformly excellent, as was the chorus. The dancers, who were especially highlighted in the second act, were stunning. The characterization of Richard Nixon, Pat Nixon, Mao Tse-tung, Madame Mao, and Chou en lei was very impressive and realistic, except that Mao tse-tung was presented as being much more feeble than he was. My only major disappointment was the fact that body mics were used. This is something that Adams apparently stipulates, perhaps because of the orchestration or perhaps the sound is what he wants.
Though obviously a contemporary opera, Nixon in China bows to many operatic traditions.The singers have distinct arias, each act has a distinct character or mood, and the final act emphasizes ensemble singing. There are also bows to American musical theatre, such as the chorus that begins the opera.
There are also links to other works, some subtle and some not so subtle. For example, in the second act, Pat Nixon is resting on a bed at the beginning of the act. The orchestra music at the beginning uses the rhythmic motive of "America" ("I love to be in America") from West Side Story. The dance play in the second act parallels the "Uncle Tom's Cabin" play in The King and I. Most obvious of all is Madame Mao's own "Queen of the Night" aria in Act 2, complete with thunder and lightning and vocal pyrotechnics.
Special mention must be made of the dancing in Act 2. Choreographer Mark Morris brilliantly articulates Western ballet, modern dance, and Chinese dance and acrobatics but also blends them so well at certain points.
Only time will tell if Nixon in China becomes something of a repertory opera. I certainly want to see it again. It contains too much to absorb in one viewing and is too intriguing as well.
Max Frankel offers an astute fact-checking critique of the opera versus the the actual event in an article in the New York Times:
Max Frankel on Nixon in China
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