What constitutes a contemporary classic? In opera, the quick, three- word answer is “Nixon in China.”
This extraordinary work, which premiered at the Houston Grand Opera in 1987, merges intoxicating, viscerally exciting music with larger- than-life historical characters in an utterly original and timelessly compelling whole.
A brilliant new production that opened at the Opera Theatre of St. Louis in 2004 refocuses and reasserts the opera’s power and primacy. Opera Colorado, a co-producer, opened its first-rate version Friday evening at the Ellie Caulkins Opera House.
Not only does this presentation establish a high-water mark for the company, but also it must be seen as a milestone in the contemporary classical-music history of Denver. In every way, “Nixon in China” is a not- to-be-missed event.
At the heart of this opera lies composer John Adams’ ceaselessly inventive score, which is rooted in the driving repetition of minimalism but transcends it. A constant, sometimes surging rhythmic pulse runs through this evocative music, with appropriate dashes of wonder and exoticism.
Though sadly not recognized by everyone in the audience, Adams was in Denver for Friday’s performance and took a much-deserved bow during the curtain call.
Conductor Marin Alsop, a friend of the composer and frequent performer of his music, demonstrated her thorough grasp of the spirit and energy of his music, drawing the best from the cast and chorus.
Adams’ score, when combined with Alice Goodman’s eloquent libretto, written in couplets, is often more an operatic meditation than a dramatic opera. Although stylized and, at times, even strange, the whole works on virtually every level.
James Robinson, Opera Colorado’s departing artistic director, served as director, overseeing one of his most imaginative and incisive stagings. With the help of choreographer Seán Curran, he manages to convey both the opera’s epic scale and intimacy, with near-constant movement accentuating the kineticism of the music.
Cleverly conceived by Robinson and designer Allen Moyer, the main set pieces consist of a dozen 1970s- looking televisions that are arranged and rearranged as the action unfolds, functioning both conceptually and theatrically.
Video and projection designer Wendall Harrington put together a constantly changing series of images for the TVs that serve as a visual backdrop, without being intrusive or distracting. The action on stage is often simultaneously juxtaposed with footage of Nixon’s actual visit, tying the opera to history and highlighting how much of a role then-nascent satellite television played in the event.
Opera Colorado has assembled a near-perfect cast, brilliantly led by baritone Robert Orth in the title role. The distinguished singer, who only slightly resembles Nixon even with the help of hair and makeup, nonetheless captures the president’s mix of awkward self-consciousness and steely ambition, using studied body language and an oversized, politician’s smile.
A surprising standout, given the relatively small size of the role, is Tracy Dahl as Madame Mao. This firecracker of a soprano, with a big, agile voice, smartly conveys the character’s brash assertiveness. Dahl easily dominates the stage during the character’s solo moments despite her comparatively diminutive size.
Baritone Chen-ye Yuan brings suitable dignity and gravitas to the role of Chou En-lai. With a resonant, wonderfully expressive voice, he invests the premier’s contemplative arias with penetrating depth and feeling.
Also deserving note is the always-dependable soprano Maria Kanyova, who is becoming something of a Colorado regular. She makes the most of the role of Pat Nixon, humanizing the first lady and investing her with a flesh-and-bones believability.
When it debuted, “Nixon in China,” sparked the inevitable controversy and created something of a sensation. The intervening 21 years allows us to further distance ourselves from the historical events depicted in the opera and see the work more clearly for what it is: an operatic masterpiece with a real chance of still being performed 50 or 100 more years from now.
Kyle MacMillan: 303-954-1675 or kmacmillan@denverpost.com
“Nixon in China”
Opera Ellie Caulkins Opera House, Denver Performing Arts Complex, 14th and Curtis streets. Opera Colorado’s production of John Adams’ groundbreaking opera, which debuted in 1987. 7:30 p.m. today and Friday and 2 p.m. Sunday. 3 hours. $28-$157. 303-357-2787 or .
