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Gandhi at the Met, Glass in transition
By Jeremy Eichler
Globe Staff / April 14, 2008

NEW YORK - The chugging, burbling music of Philip Glass is so ubiquitous today that it takes some effort to picture him in his rough-and-tumble artistic youth, a time when his compositions, now the stuff of Hollywood film scores, were truly radical in the boldness of their simplicity. Glass's breakout work for musical theater was the audacious, prism-shifting "Einstein on the Beach," but even after its sensational success at home and abroad in 1976, he still returned to driving a taxi in New York City to pay the bills. As the story goes, one day, a well-heeled passenger entered his cab and spotted his driver identification. "Young man," she asked, "do you realize you have the same name as a very famous composer?" more stories like this"Einstein" had announced Glass's arrival, but it was the next work, "Satyagraha," about Gandhi's formative years in South Africa, that confirmed his achievement, and proved his ability to make this simple repetitive music into the lifeblood of a new meditative brand of opera. In reflecting on the birth and spiritual dimensions of Gandhi's political ideal of nonviolent resistance, Glass created a score of subdued grace, sensual richness, and hypnotic power.

These days, "Satyagraha" is taken as canonical early Glass, a body of work that enjoys a critical acceptance never granted to much of the later music, even as Glass's celebrity grew. Still, the opera is referenced far more often than it is staged, and so there was a sense of anticipation on Friday night when the Metropolitan Opera unveiled a new production, shared with the English National Opera. Gandhi's grandson was in the audience, as were several Tibetan monks. What they witnessed was a vividly imagined staging full of striking images that do cumulative if not complete justice to this haunting score.

"Satyagraha," like "Einstein," is a so-called portrait opera that evokes its subject through a series of suspended glimpses of key moments during the period in South Africa (1893-1914) when Gandhi was mobilizing that country's oppressed Indian minority and developing his own brand of transformational politics embodied by the opera's title, which can be translated as "truth force."

The scenes take the form of stylized tableaux, poetic meditations on historical moments rather than anything that might hint at documentary realism. Emphasizing this distance, Constance DeJong's libretto - in Sanskrit - consists entirely of passages taken from the "Bhagavad-Gita." The opera's first scene is set in the mythic landscape of this ancient text and the other scenes are inspired by actual events in Gandhi's life. They are grouped into three acts with each one supervised by the spirit of a historical figure connected to the past, present, and future of Gandhi's political thought: Leo Tolstoy, Rabindranath Tagore, and Martin Luther King Jr., respectively.

But the key element is of course the music. Conceived and written in the late 1970s, it manages to maintain the early integrity of the composer's signature style while annexing the sumptuous vocal and instrumental textures of traditional opera. It is full of supple writing for solo voice, for small ensemble, and often for full chorus. In a sense, it represents an elusive way station in Glass's overarching journey, a moment of perfect equipoise between his past as an austere minimalist pioneer and his future as a neo-Romantic populist. He never again achieved this precise balance.

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'Satyagraha': Simplicity & Splendor in the Glass
By Anne Midgette
Washington Post Staff Writer
Monday, April 14, 2008; Page C01

NEW YORK -- The first impression is of simple beauty: a tenor voice, cushioned by the ebb and flow of repeating cadences from the orchestra. The stage, enclosed in a curving wall of corrugated metal, evokes a prison: We will be trapped for hours in a world in which nothing happens. But as the music morphs from one pattern to another, the stage picture reveals new vignettes. Piles of wastepaper rise up rustling from the chorus as giant homunculi. A bird walks past on stilt legs. And the corrugated wall opens to admit the towering pale figures of giant puppets, doughy men gathering briefly, like monsters or magi, around the central figure of the singer before departing again as if they had never been, in an evening that moves forward like a dream.

The Improbable theater company's production of Philip Glass's "Satyagraha," which opened at the Metropolitan Opera on Friday night, represents the kind of work the Met should be doing. It is an important revival of a major recent piece. It is a significant work of theater. And it provides an all too rare demonstration of the fact that new opera can indeed be a contemporary art.

Not that this should be the Met's only fare, and it is certainly not for everybody. To some lovers of traditional opera, "Satyagraha," with its repeating musical patterns as steady and unremarkable as the passage of time itself, might resemble "Chinese water torture" (as one audience member said on Friday). But if the work has a hope of reaching those listeners, it is through the high musical standards of this production. Rather than putting the piece in a new-music ghetto, the Met has cast it with some fine singers -- Richard Croft, Earle Patriarco and especially Maria Zifchak -- and placed it in the capable hands of the conductor Dante Anzolini, who made a memorable Met debut. Orchestras usually hate playing Glass, whose music is difficult (the rhythms have small tricky variants that require constant attention) and physically demanding (all those repetitions are grueling). The Met orchestra sometimes sounded as if it were fighting Anzolini, but he prevailed by keeping the lyricism and finding the line in the music.

"Satyagraha" is a watershed piece in Glass's oeuvre. Written in 1980, it represents the first time the composer stepped beyond the bounds of his own ensemble and took on the conventional forces of classical music. The score still retains exhilaration of an artist presented with a new set of tools. After Glass found this voice, he sometimes set it on autopilot; many of his later works lack the consistent level of inspiration of this one.

Glass's music also accords beautifully with the theme of the opera. "Satyagraha" is about the years in which Mohandas K. Gandhi, then living in South Africa, developed his philosophy of nonviolent resistance. The topic is epic enough for opera, but it is depicted with the musical equivalent of nonviolence: a quiet constancy without overt climax. The orchestra consists only of strings and winds, stripped of the bombast of brass and percussion. It gently worries at ideas, subtle but insistent, coalescing into entirely new thoughts without the listener always being cognizant of how it got there: an eloquent echo of Gandhi's own process. Many new operas involve simply applying some kind of musical language to a story; one of the refreshing things about "Satyagraha" is that the music actually means something.

Music is, in fact, a major vehicle of meaning in a work that has only tenuous links to the conventional idea of a story. Anyone who wants to understand the Gandhi part of the narrative has to do some extra reading in the intermissions. The libretto is drawn entirely from the ancient Bhagavad-Gita, and sung in Sanskrit, and its words, meditative and philosophical, do not add up to anything as prosaic as a plotline.

It is perhaps an extra challenge for the singers that they are given little conventional sense of character to work with. Glass's vocal writing adds another challenge, requiring long, sustained passages of singing and, for the soprano, high writing that sits in awkward parts of the voice (a Glass hallmark). Rachelle Durkin did her best as Miss Schlesen, Gandhi's secretary; Alfred Walker was disappointingly pale in his first long solo passage; and Patriarco was a stout pillar in the beautiful vocal ensembles that were some of the work's highlights. Zifchak and Ellie Dehn (in her Met debut) twined dark mezzo and high soprano voices in a moving musical arch around the final act. And Croft gave himself utterly to Gandhi, investing the role with a fitting, radiant simplicity.

It is left to the directors to figure out how to bring the story across to the audience. The beauty of the Improbable production, conceived by Phelim McDermott and Julian Crouch (and already premiered last season at English National Opera), is that its imagery is so greatly bound up with the music. The chorus comes together to form larger entities -- monsters, animals, surfaces for slide projections -- then drifts apart, like Glass's notes. In the final act, singers crossed the stage with rolls of packing tape, unrolling them at all different heights, until the whole space was filled with dozens of shimmering bands, vibrating like the music around them; this whole construct was eventually crumpled into a small ball, showing visuals as ephemeral the passing notes.

The whole evening was a towering work of non-event: to some, boring; to many, including this listener, it was a profound and beautiful work of theater. The final act is a masterpiece of the power of simplicity. At the very end, while Croft embarked on a pure, ascending line, sung over and over, and the figure of Martin Luther King Jr., taking up Gandhi's ideas, mimed his own great speech behind him, the back of the stage was filled with a pure blue sky, then clouded with an image of angels, marring the moment with an image of kitsch, presenting the hope of redemption as sugary illusion. Was this new beginning only a deception? Not on Friday, when the production was greeted with rapturous and genuine applause.

The Metropolitan takes Philip Glass' work on Gandhi to exalted levels.By Mark Swed, Times Music Critic
April 14, 2008

NEW YORK -- The production of Philip Glass’ "Satyagraha" that opened Friday night, the first at the Metropolitan Opera, is more than opera. This epic new vision of a Minimalist masterpiece revolving around the events in South Africa that inspired Gandhi’s philosophy of nonviolence is also more opera than I have ever witnessed at the Met or learned about in the annals of the storied company.

To sit in the large, tasteless house in Lincoln Center and, after hours of, say, Wagner, fall under the spell of a soprano or bass as the midnight hour approaches is, for many of us, the definition of opera. Orchestra, conductor, singers and great music conspire to transport us to some mythical place that inevitably transcends a banal production or a composer's rotten soul or a physically clumsy singer with a cold. If opera is transcendental art, you need something to transcend.

Or do you? Everything that reached the ear and eye Friday was on the same exalted level. Gandhi's goodness and his political impact are not, I hope, in dispute. And at a long evening's end, when the American tenor Richard Croft cast a neo-Wagnerian spell, he did so to offer guidance for enriching the wayward world that we were about to reenter. That is the way in which this was more than opera and was, I'm quite sure, a first for the Metropolitan Opera.

Premiered in Holland in 1980, "Satyagraha" is the second of Glass' many operas and the first written for the resources of a standard opera company. Four years earlier, the composer and director-designer Robert Wilson had broken the operatic mold with "Einstein on the Beach," music theater of images created for the composer's own ensemble and with no sung libretto.

"Satyagraha" began Glass' entry into a more traditional musical world. But although he wrote for classically trained singers and a standard orchestra, he did not leave his experimental roots behind. The era of high Minimalism, begun some 15 years earlier, was ending but not over. "Satyagraha" has all the repetition in the orchestra anyone could hope for, and the Met orchestra, conducted by Dante Anzolini, an Argentine making his Met debut, let the arpeggios luxuriate. The sound was gorgeous.

Gandhi's 20 years in South Africa are treated as ritual in historical scenes that take place between 1896 and 1913. The ingenious libretto, which Glass devised with Constance DeJong, is taken from the Bhagavad-Gita, the sacred Hindu text to which Gandhi was devoted.

In it, the Lord Krishna tells the warrior Arjuna to put pain and pleasure aside, that action is a moral duty: Be unconcerned with consequences, with victory or defeat, but act with the world's welfare as your intention. Krishna's words fit eerily well with the opera's well-known events, which include Gandhi's protest movements and the publication of the newspaper Indian Opinion.

The extraordinary new production, originated by English National Opera, is the improbable work of Britain's Improbable theater company. Run by director Phelim McDermott and designer Julian Crouch, Improbable was the force behind the popular Victorian ghoul show of a few years back, "Shockheaded Peter."

Following Gandhian principles of self-sufficiency, Crouch creates unforgettable sets before the audience's eyes with newspapers, tape and other "humble materials." The backdrop is a curved wall of corrugated iron, which just happens to have excellent acoustical properties.

The production is a work of genius that ranges from the very simple to the fantastically ambitious, looking at times as if all of the Whitney Biennial has found its way onto a miraculous Met stage. There are aerialists and huge, amazing puppets. A sense of playful fantasy somehow suits the meditative mood of the music and the serious needs of the religious and political subject matter.

Each of the opera's three acts has a patron saint (and each act in this slow, luminous performance lasts in the neighborhood of an hour). Tolstoy and then the Indian poet Tagore look on from cutouts in the backdrop.

Throughout the last act -- which is taken up with the New Castle March, when Gandhi led thousands of protesting indentured workers -- Martin Luther King Jr. stands at his podium. Eventually he dominates the background against a cloud-spotted sky as Gandhi sings of eternity in the foreground. The effect, exactly one week after the 40th anniversary of King's assassination, was, I thought, unbelievably moving.

The singing, from soloist and chorus, was uniformly wonderful. Croft's Verdian rapture and Mozartian purity were just the beginnings of his creation of an imagined character. I couldn't have been happier with the voices of the women in Gandhi's life -- Rachelle Durkin, Ellie Dehn, Maria Zifchak and Mary Phillips. Richard Bernstein was Krishna and Bradley Garvin Arjuna in the mythical opening scene, when Gandhi gets his spiritual bearings.

If "Satyagraha" is general director Peter Gelb's new Met, then there really is a new Met. The opera so resonates with the moment that a month's worth of Gandhi symposiums and events are taking place around Manhattan. Tibetan monks involved in their own nonviolent demonstrations right now were in the audience, as was a Gandhi grandson. Glass received a hero's welcome at his curtain call.

But Gelb left out one important thing: "Satyagraha" is not among this season's high-definition broadcasts of Met productions at movie theaters. Someone who knows the ways of the company told me that adding it to the schedule could cost a million dollars.

They should find a million dollars.

http://www.latimes.com/media/photo/2008-04/37763580.gif

SORPRENDENTE!
--------------

NEWSWEEK: Gandhi was against industrialization. How would he react
to today's technology and to global warming?

PHILIP GLASS: He would have marched! I am of the Vietnam generation
when people marched in protest. Today's young stay home, on the
Internet. That has to change. When young people understand that the
power of change is in their hands, they'll take it. The idea of
satyagraha applied to ecology is powerful. It's about nonviolence
to the environment.

NW: Ironically, Gandhi's ideas are largely ignored now in India,
where the information technology boom and a 9 percent economic
growth are results of industrialization.

PG: Every industrialized country has to come to terms with that. The
modern world is in the thrall of technology. We mustn't let it run
rampant--it can be controlled. Developing countries first develop
the technology, then they learn to control it. India is still in the
early years of development. It will come to terms with this because
protection of nature is part of its tradition.

NW: Why did you choose "satyagraha" for the title?

PG: It's a Sanskrit word, coined by Mahatma Gandhi, meaning truth
force or, the power of truth. Gandhi turned an idea into a word. He
understood the power of communication: he'd started a newspaper in
South Africa, which was mailed to India so everyone knew who he was
when he returned. All modern political movements have borrowed from
Gandhi. In America, his legacy reappears in the work of Martin
Luther King. It transformed our country.

NW: What inspired you to write this opera?

PG: Having worked with Ravi Shankar, I visited India in 1967 to
learn more about its culture. There, in a small-town cinema, I saw a
clip of Gandhi's Salt March. To protest the British-imposed tax on
salt that was hurting the poor, Gandhi marched to the sea and made
salt. Thousands joined him on that long march. His charisma came
through so clearly that I read his autobiography. I had no idea then
about doing an opera.

NW: But why in Sanskrit?
That's the language of the Bhagavad Gita, a discourse on the value
of action, which Gandhi had memorized by pasting its passages on his
shaving mirror. The Gita preaches activism--Gandhi was not passive;
he preached not pacifism but nonviolent resistance. Also, the words
in opera are not understood anyway. We project translations onstage.
When I wrote the opera, I was moved by the violent state of the
world. It never occurred to me that 30 years later, there could be
so much more violence. China's engaged in a genocide of an entire
nation, America is in Iraq. The opera is more relevant today than it
ever was.

http://www.newsweek.com/id/132590