- John Adams’s ‘Nixon in China’ at Metropolitan Opera
by Sam Juliano
Together with Phillip Glass, John Adams is a leading composer in what is referred to simply as minimalist opera, a style that developed from the modernism of the early twentieth century, where atonality found it’s way into the musical construction.
Historical and political figures that have fired up opera composers’ imaginations dates all the way back to Handel with Giulio Cesare, and included the likes of Mussorgsky’s Boris Godunov and Verdi’s Don Carlo, the latter in which King Phillip II of Spain is transformed a character of Shakespearean dimension. Yet, an influential precedent was established when Nixon in China premiered at Houston’s Grand Opera almost a quarter-century ago when the opera did much more than just focus on an almost larger than life figure, but basically to present the history of our time as it was being self-consciously made. In the beginning many were either befuddled or even outraged at the “preposterous” notion of creating an opera about Nixon’s historic China trip, especially after the notorious events that brought sudden closure to Nixon’s term in office, and of the general idea of politics providing the subject matter of an art form that by it’s very nature seemed to preclude such corrupting inclusion. Yet, this pioneering work in retrospect, provided a remarkable aggregate of material and rich characters, and the very nature of the form, with its blend of artistic disciplines, proved uniquely well-suited to the structure underlying Nixon in China, as it modulates back and forth between grandly thrilling spectacle and introspective doubt. Hence, it is easy enough to conclude that Adams and his librettist Alice Goodman helped usher in a rebirth of American opera over the past decades by suuccessfully balancing a contemporary sensibility with the musical and dramatic traditions of the genre.
The incubation period of the opera was rife with serious second-thought, by no less than Adams himself, who initially resisted the proposal made by Peter Sellars, a progressively radical director whose idea the composer found too risky. Even Sellars could hardly have foreseen that the eventual collaboration on the celebrated state visit would be the catalyst in launching one of modern opera’s most significant careers, one that includes five further associations between the two. Adams’s initial skepticism was in full support of the aforementioned critical perception, which found it nearly impossible to perceive of anything beyond a politically correct cartoon with a scenario featuring Nixon as an operatic protagonist. Yet, Adams came to understand this pivotal time in American history imparted a mythical resonance for audiences who lived through it’s defining context. The risks taken during the writing of the opera between 1985 and 87 wound up serving as artistic advantages. The innovative spirit and oft-inspired music that ended up defining the opera resulted in a structure notable for counterpoint of mood and ambiguous emotional dynamic. Indeed there are several ‘big’ moments in the work that stand among the most memorable in the modest history of American opera. Pat Nixon’s haunting aria “Isn’t It Prophetic?” for example could rightly stand with “Ain’t it A Pretty Night?” from Carlisle Floyd’s Susannah in lyrical felicity and a grand show-stopping elegance. Throughout the opera the full gamut of human emotions allows for the seguing of humor into pathos, satire into realism, and propaganda into self-realization.
The main action of Nixon in China revolves around the five-day visit of Nixon, his wife Pat and the presidential entourage to a country that was seen as an impregnable Communist state, where free leaders would be expected to avoid. Goodman, to great effect ignores most of the ceremonial frivolities inherent in such a landmark meeting, and instead injects the opera with philosophical paradox and elegiac confessions, while suffusing the style with poetic couplets and those arresting moments of epiphany that would no doubt be present in such a monumental historic event. Adams makes excellent use of various devices in this -and some of his subsequent operas- like the chorus at the opening, the ballet entertainment that concludes the second act, and a Hamlet-like “mousetrap” that displays the division between spectators and performers in the form of a Communist agit-prop piece titles “The Red Detachment of Women.” Adams’ own transcription of minimalism is pulsating rhythm and powerful harmonic momentum, which serves to reinforce the opera’s dramatic rhythms. Musically there are fanciful textures and a deceptively melodious underpinning that manifests itself in some of the traditional moments like Nixon’s heroic entrance aria or the subsequent competing toasts.
The original Peter Sellars production, which the Met acquired, has made the rounds. The Brooklyn Academy of Music mounted it shortly after the Houston premiere. It also traveled to Washington, D.C., and Los Angeles, and it was broadcast by PBS (with Walter Cronkite as host). The Met’s production is based on Sellars’ revised staging of his original version created for English National Opera and which proved a hit with London audiences. Sellars’s production, which opened in 2006 at the English National Opera, emphasized the symbolic aspects of the characters from the start, when Nixon’s airplane descended from above, a huge two-dimensional facade. When Nixon (sung by James Maddalena, who originated the role and has sung it many times since) appeared at the top of the gangway, the audience broke into applause almost reflexively, as if responding to the idea of a presidential entrance, and Maddalena gave a politician’s wave that broke through the fourth wall. The idea of mammoth facades was continued in the third act with a large portrait of Mao – and was undermined by repeated scenes of Pat Nixon and her husband in their hotel room, in bed.
Sellers and Adams have made their first appearances respectively at the met for this opera. The former contributes a thoroughly innovative and vital score that is identifiably his own as his brand of minimalism (patterned on Steve Reich and Glass) which utilyzes exciting pulsation and powerful harmonic momentum to reinforce the opera’s dramatic rhythms. Noted musicologist Michael Steinberg observed that Nixon in China “recipitulates Adams’ development as a composer in that each of its scenes brings an expansion of resources and possibilities – becoming “more richly inventive in melody, freer in rhythm, more subtle in harmony, more fanciful in texture. Adams’ spirited conducting brought out what was arguably the most reverent transciption of the score since it’s opening night, no doubt inspired by this historic run in the nation’s most celebrated opera house. Seller’s work, negotiated with the dazzling complicity of lighting director James F. Ingalls, makes the most out of the sparce set design, though the gigantic image of Mao, and the air force One landing remain larger than life. But Adams’ opera, by it’s very concept is one that makes Nixon, Pat and his Chinese hosts symbols, so the ornate and exaggerated artificiality of the design appears valid.
The dissonant score, which nonethess brings in some soaring lyricism in a few key arias, is exceptionally sung by Maddalena and Janie Kelly as the Presidential couple. The supporting players -Robert Brubaker is Mao – are all accomplished, and they help to transform Nixon in China into the most unlikely of operatic successes, one whose historical importance is conveyed with extraordinary scope and topical urgency.
Note: I saw Nixon in China all by my lonesome on Wednesday, February 2nd at the Metropolitan Opera House at 8 P.M. The production was offered the following Saturday n simulcast on nationwide movie screens.
I enjoyed your perceptive and strongly committed work here, Sam. In the opera, Adams does indeed enrich the minimalist vocabulary with an attenuation of intensity that disarms those of us who love to inhabit the ground zero of pulsing rhythm.
By strange coincidence, we’ve seen John Adams twice this week, conducting some of his works at a New Music festival here in Toronto–Valerie even tracking him down at a bar in the concert hall after one of the shows, while a post-concert pop gig was in progress, to have him autograph a disc of his we bought. Even more coincidentally, last night we heard his recent symphony, “City Noir,” a piece delivering a sustained, exciting crossfire of film noir atmosphere.
What a classic comment you’ve submitted here Jim, and I thank you for the stellar embellishments of Adams’ work. The coincidence you relate here is thrilling, and that’s fantastic that Valerie got to meet teh composer. The “City Noir” piece is one I’ll definitely track down upon release! It appears that Adams has made his mark on contemporary American music, much as Glass has!
Hi! Sam Juliano…
Nice review, well-written and very informative too!
Sam Juliano said, “The production was offered the following Saturday in simulcast on nationwide movie screens.”
Sam Juliano, the reason that the production was offered on nationwide movie screen again? For those who like opera to view the production, but were unable to afford to attend in person…No?
Thanks so much Dee Dee!
Well, the Saturday afternoon simulcast schedule is announced before the beginning of the opera season, and it usually includes 10 to 12 offerings. The entire opera schedule of course is about three times that total, but they settle to offer about one-third, of which NIXON IN CHINA is one. I decided to see this one in person at the Met, rather than attending the simulcast (which I often do). Many thanks as always my great friend for your support and great embellishments.
Great piece of writing Sam. I couldn’t imagine sitting through an opera with a title like this, but so many go for this kind of minimalism. I have heard “Isn’t It Prophetic?” and can see why it is defined as propulsive. Makes me think of Ravel’s “Bolero,” the way it builds progressively.
Tremendous point on the comparison with BOLERO Frank; both do have that pulsating build-up, though of course the disparity is substantial as well. Most people were equally as startled by the opera’s chances in the beginning.
As always, many thanks for being a trouper here my friend.
Sam: I would have sat through this one, as I would any of the Glass operas, just to see and hear in person – I’ve been listening lately to Adams – Johns Book Of Alleged Dances and enjoy his work, although he’s on a different level than Glass in how his music evolves –
Funny though, it took me many more years to actually take a listen to this one though, due to the Nixon factor ; (
Thanks for sharing = Cheers!
As I mentioned to Jim, Michael, it’s astounding how Adams has resonated with audiences, and your own experiences with him here (thrillingly related) is further testament. I’ve rarely come across anyone who loves Glass, who feels differently about Adams. Yes, the Nixon factor brought many to it, and the years have positively reversed the original reviews.
Nice hearing from you my very good friend. I anticipate all is well!
Sam. I guess this is my favorite American opera by default. The only other one I’ve heard in full is Porgy & Bess, though I’ve sampled some others that ended up sounding like nothing but recitative to my unlearned ear. Leave it to a minimalist to restore heroic lyricism to the genre. Anyway, doesn’t Nixon in China beg to be cinematized? The Berkeleyan possibilities for the Red Detachment of Women sequence leading up to “I am the wife of Mao Zedong” are incredible. Someone should do this, but I’m not sure who. Maybe Zhang Yimou and Tim Burton together could do it justice.
“Leave it to a minimalist to restore heroic lyricism to the genre.”
Ironic, Samuel, but God, how true, at least as applicable in this case. I originally laughed at the Berkeley proposition for the Red detachment sequence, but this material borders on such as transcription! If you only have real affection for two operas, I certainly can’t contest the two you mention here! But you have your whole life ahaed of you to discover the magic of Wagner, Puccini, Verdi, Strauss, Janicek, Prokofiev (I am sure you know his work) Massenet, Bizet, the bel canto guys, etc. And Yimou and Burton in collaboration? Ha! i think you hit upon something there! Of course, NIXON’s most sublime segment is the aria “Isn’t It Prophetic?,” one of American opera’s defining codas.
Many thanks for this extraordinary comment from one of the net’s most consistently meaningful commentators!
Sam, I’m not quite that much of a yokel. I said I’d only heard two American operas. I own discs of Turandot, Prince Igor and Prokofiev’s War and Peace following past bouts of curiousity or “what was that on the radio?” and I’ve seen the Ring Cycle on TV. So there!–he says defensively as he slinks away, clasping his culture crown close to his head….;}
LOL Samuel!!!!!!!!!!!!!!!
I’ll admit I completely muffed my response to you here. You do indeed have a solid operatic background there, and the names you mention are some of the supreme heavyweights. I love the way you end your comment!!! In any case I am happy to hear you have seen the complete Ring Cycle, which is one of the greatets cultural experiences one can ever have. But I’m sure you know that already.
Opera is not my scene and one about Nixon sounds bizarre, but if Sam likes it, it must be good.
Valerie Clark (Jim’s lovely wife) kindly pointed me to a clip of a performance of John Adam’s Noir City and it blew me away:
Tony, many thanks for that wonderful compliment, and kudos to you for including these terrific you tubes, which appropriately and gloriously enhance this thread and this composer! Spectacular!
Hi! Tony…
That is very interesting…
…Unfortunately, I’am not familiar with John Adams…However, how very apropos with Maurizio Roca’s Film noir countdown underway, your DVDs Of (PickUp On Southstreet) give-away and the wrapping-up Of “For the Love Of Film (Noir)” blogathon.
Thanks, for sharing!
DeeDee 😉
By the way, I went over there to YouTube in order to add these two videos to my channel and lo and behold look what I found…
An excerpt from the live performance of ‘Boulevard Night’ from John Adams’ City Noir. conducted by Gustavo Dudamel with the LA Phil.
Dee Dee:
To say that this is absolutely stunning would even be an understatement. What a fantastic addition to this thread! Noirishness incarnate!!!!
Many thanks a hundred times over!
I don’t get too excited about much these days. I foind that, by keeping my expectations low I’m often mildly happy in my day-to-day life…
HOWEVER…
One of the few things that really gets my blood pumping in a positive way is whenever I see my dear friend Sam pen a piece that deals with classical music. His penchant for honing in on the essence of a piece or a full scale opera is a thing of perfection. He always knows how to come up with the right words to truly describe the music, but more than that. No, Sam doesn’t merely describe, he allows you to feel the music through his words.
I’ve had many conversations with Schmulee over the course of an almost twenty year span and the topics range from his kids right down to which are the best Blu-Ray’s to purchase to show off a audio/visual system. His knowledge and passion for all of these things borders on obsessive or loving, knowledgeable and preferred, critical or personally embraced. Classical music, though, is a subject that is different than all other with him…
Sam doesn’t prefer film to literature or TV to film. These things, as with art and performance, food and community events are only diversions from where his heart and soul lays. If there was a field he honors, respects and becomes physically excited over more than any, then it is most definately in the field that houses names like Bach, Beethoven, Mozart, Tchaikovski and his beloved Richard Wagner. Classical music is the carrot dangled in front of him that makes him run. It’s the battery in that engine that is his soul.
I’ve been to many an Opera with him (and Lucille as well on occasion) and I can honestly, plainly and completely state without reservation that, upon entering a music hall, Sam’s breathing eases up, his tensions disappear and he is truly and completely in his element. I once noticed, during a production of DIE MEISTERSINGERS VON NUREMBURG at the Met, that Sam rarely brought his head up to attention or opened his eyes. This was not sleep, this was not because he disliked the interpretation that the orchestra and conductor was giving in their reading of the score.
No, no, no…
This was Sam drinking in every note of the music as a cosmic elation to his person and soul. He was FEELING the music and allowing it to wrap itself around him like a warm overcoat on a brisk night that draws life into the lungs with every pronounced breath. This was Sam hearing the voices channeled through mortal men as vessels of a higher power or God. This is Sam experiencing what few ever experience…
This was a man drinking up the sounds of the divine and understanding every message, metaphor and prayer made by those whose lives were consumed by the driving melodies and rythms that played in their heads over and over again till they busted out of their pens and on to paper like a dam bursting. he was feeling their pain and their happiness, their loves and desires, their nightmares and their dreams…
I’m fanatical over Classical music myself…
I could never hold a candle to Sam though. He just goes that extra step further and becomes one with it.
I wish he would only ever write about music.
It’s his calling in life.
I know of nobody other than him that embraces and loves it as much as he…
Needless to say…
He penned another monumental review for music…
After reading this I will say this Sam: If you ever again argue with Dennis you should be hauled off to prison. This is better than the most glowing reference anyonce could ever give.
“This was Sam drinking in every note of the music as a cosmic elation to his person and soul. He was FEELING the music and allowing it to wrap itself around him like a warm overcoat on a brisk night that draws life into the lungs with every pronounced breath. This was Sam hearing the voices channeled through mortal men as vessels of a higher power or God. This is Sam experiencing what few ever experience…”
Dennis, you are too much! While I can’t claim credit for even a fraction of the extravagent praise you heap on me here, I can at least express tremendous appreciation for probing beneath the surface and informing your perceptions with acute insights and personal experience. You may have exaggerated a bit there with the Wagner opera, but there’s no doubt it inspires one to close their eyes and meditate with the astounding music which approaches spirituality. Yes it’s true that for me opera and classical music (and music of any kind) probably edges out theatre and cinema, but like anything else it depends on the mood. All three are in the stratosphere of appreciation. And Frank is right. You are furthermore exempt from criticism of any kind! LOL! Many thanks my excellent friend!
I think this is kind of too late to post a comment here, but I had wanted to, then the earthquake hit. So here it is.
First time I heard about this work many years ago, I thought the reference to such a (contemporary) political event rather bizarre. But thinking it over, I realized it is rather commonplace for a composer to create an opera or a musical/theatrical work in the context of political/social event. This is the point you have pointed out here. And as you mention, the unprecedented disgrace of the White House brought by Nixon himself must have made this opera an awkward title to stage.
I listened to only part of this performance via WQXR (internet radio). Your post here made me wish I could have listened to the whole thing. Your review is very informative, many of the details I didn’t know. I always admire your writings, and I only could crave for more.
MI
Thanks my great friend for this cogent assessment, though you are much too kind! Yes, this is one of the most bizarre concepts ever posed for an opera, but against all odds Adams crafted a contemporary masterpiece, a fact that the Metropolitan opera brought to their striking production. Adams is no stranger to off-radar subjects of course, as this “The Death of Klinghofer” provides for another seemingly odd wedding of subject and form. I do believe that “Nixon” will gain in stature over the years, and will (if not already thought as) be considered near the top among American opera.
Thanks again for all your kindness, and again for your remarkable resilience my friend!