Marcus Deloach News
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2024-03-28
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2019-04-10 16:21:00
Monmouth Civic Chorus. Ryan James Brandau, conductor. April 6, 2019.
Axelrod Performing Arts Center, Deal, NJ. Premium Seating (Seat J115, $38). Program Carmina Burana: A Scenic Cantata (1935-1936) by Orff (1895-1982). Guest Artists Claire Leyden – soprano, Alex Guerrero – tenor, Marcus Deloach, baritone. Roxy Ballet – Mark A. Roxey, director. The soloists get mentioned, the ballet company gets mentioned, and - certainly - the conductor gets mentioned in bold, but we can't tell who the composer is on the program. This is going to be a short report. As Anne remarked to me afterwards, I nodded off quite a bit during this concert. I have powered through long days and jet lags, but I “lost” terribly tonight. We saw this about ten years ago performed by the National Chorale, and my blog entry for that event would indicate I was reasonably familiar with the piece, I […]
2017-06-21 23:59:06
Guilt, edged
If aging French modernist composer Darius Milhaud took a risk in adapting La Mère Coupable as an opera, it wasn’t the quirky, atonal style he used for his score. The third in Beaumarchais’ 18th-century trilogy of Figaro plays, “The Guilty Mother” is somewhat gloomier and more overcast than the two comedies preceding it. Its protagonists—the buffoonish Almavivas and their clever servants—appear more subdued in this last installment; its central villain functions more as Tartuffe-inspired homage than as living, breathing adversary. Perhaps for these reasons, as of today, “Mother” remains the least revived of the three Spanish farces. Certainly as source material for an opera, it hasn’t had much of an afterlife, either. Still, none of these concerns kept Milhaud, a well-traveled, Brazil-loving member of the Les Six group of interwar French composers, from setting the piece to music in 1965. While the results of his experiment were mixed and […]
2017-01-07 16:15:52
Sea, no evil
Years ago, then-Times critic Steve Smith made an impulsive prediction on twitter: “I’ve spotted Missy Mazzoli at the Met for From the House of the Dead. One day I’ll be here to hear her. Bank on it.” Well, now that her second opera, Breaking the Waves, has received its New York premiere as part of the Prototype Festival of new musical theater works, I can confess something: when I read those words, I sighed just a little at the hyperbole of over-optimistic classical music critics. I have always enjoyed Mazzoli’s uncanny and highly original music, and held out great hopes for her success—her first opera, the dreamlike Song from the Uproar, was a rich and effective work—but I just didn’t think of her as a composer of, for lack of a less insulting phrase, “real opera.” You know what I mean, right? Something more drama than ritual, something with […]
2016-09-26 18:00:29
New waves
Missy Mazzoli, a 36-year-old composer from Brooklyn, has created the most startling and moving new American opera in memory. This astonishing achievement—in collaboration with librettist Royce Vavrek—was part of the opening week at Opera Philadelphia, which had commissioned the work and staged its world premiere. The “industry audience” that was present of course expected to cheer the composer, a popular figure in New York’s new music circles. But the stunned silence when the curtain fell is not something that can be planned. Neither did the screaming ovation that followed sound like pro forma good will. Mazzoli found a way to dramatize in music the paradoxical falling/rising of a simple girl, Bess, who from the utmost degradation and a terrible death becomes a healing spirit of love affirmed against the odds, expressing a pure impurity. The story is set on the Isle of Skye, seaside, in the 1970’s. Bess—because of […]
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