Remember me? I went to see Toshio Hosokawa’s Matsukaze at the Lincoln Center Festival and I wrote about it for Bachtrack.
Toshio Hosokawa’s opera Matsukaze
is in many ways a model of modern cross-cultural creation. Premièred in
Brussels in 2011, it sets a story from the traditional Japanese Noh
theater in a more or less Western operatic framework. And the text is in
German. But unlike some other recent efforts to merge Asian and
European traditions (such as Tan Dun’s The First Emperor), it
is a fully-formed and rewarding work of art rather than a self-conscious
experiment. Despite a pedestrian production, Lincoln Center Festival’s
presentation is a valuable opportunity to hear Hosokawa’s impressive
You can read the whole thing here. I have been absent recently due to a) too much work and b) a certain absence of material. I have a few plans for August but things will be quiet for a while. I am sorry to have missed Michaels Reise um die Erde, also at the LCF, but it’s too bad they scheduled two of their most interesting events for the same three nights. I went to Matsukaze on the first of the three, and the other two I spent at a wedding.
One thing I didn’t mention was the casting of two Asian (Korean) singers in the roles of the sisters. Maybe this wasn’t intentional, there are lots of fine Asian and Asian-descent singers out there, but I wasn’t sure what to make of it. If it was intentional, it seems to me to be unnecessary and possibly problematic. If it wasn’t, well, I’m glad I didn’t mention it.
Also, I liked Paul Griffiths’s program notes. I wish certain other NYC opera groups would follow suit.
See you from the Budapest Festival Orchestra’s Figaro, if not sooner.
Photo copyright Olivier Roset.