Author : Johan Uytterschaut
Expectations are ungrateful and sometimes frankly dangerous things. They simply have to be surpassed in order to avoid disappointment. And if things go wrong, they can wreak havoc. Luckily, that was not the case with Terence Blanchard’s “Champion” in the New York Metropolitan. But neither was there any surpassing.
What was there to be surpassed? “Champion” is Blanchard’s first opera; my acquaintance with this composer was his second, “Fire Shut up in my Bones”, in October 2021. That was a fantastic occasion. We heard the music of a man that perfectly understands how opera works. He grasps the laws of a complex art form in need of a precarious balance. And he possesses the necessary melodic gifts to charm the ear – a major quality. Therefore: great expectations about his firstborn.
Did it disappoint? Not as such. But it seems that the years of experience bridging both operas made a distinct difference. To put it the other way around, number 1 couldn’t live up to number 2: “Champion” doesn’t succeed in establishing the balance that “Fire” possesses. Meanwhile, Blanchard is a composer of outstanding talent. That emerges in scene 1, being of a beautiful melodic invention, and in some other scenes, where rhythmic and percussive qualities dominate, or where daring choices work admirably. Let me mention the ballets, displaying some heart warming dynamics, or Emelda’s aria, accompanied by a single pizzicato double bass. Lyric qualities that could have been much more abundant in this composition. We should, therefore, have seen these two operas in reverse order.
The production by James Robinson and choreographer Camille A. Brown is up to its task. It offers a show meeting the possibilities Michael Cristofer’s libretto enables. That libretto is pretty suggestive, but never really provocative, despite the somewhat raw social location of events. The same goes for the uncensured naturalistic language (which brings me to the following: the decision to supply the subtitles whit a lot of **** is unnecessary and even a bit ridiculous: one doesn’t take minors to this kind of opera, and grown ups tend to understand literally what is being sung).
About the performance. I have a problem with Ryan Speedo Green in the title role. As an actor, he convinces me most of the time; as a singer, he doesn’t. His singing technique is flawed to the point of producing an all too often ugly, throaty, over wrought voice colour. Which is quite simple to avoid, with the proper know how. Eric Owens’ older Emile is vocally a lot more convincing. Then there is an enjoyable Paul Groves as coach Howie Albert, and an outstanding ladies cast, led by a gorgeously singing Latonia Moore as Emile’s mother Emelda. Choir and orchestra conducted by Yannick Nézet-Séguin deliver what they always deliver: a great job.
Conclusion: my initial 6 stars for this opera and its productions slimmed down as the evening progressed, but that should prevent no one to go and discover this catchy and interesting piece. I can only hope that Terence Blanchard stays on the road Benjamin Britten walked before him: deliver appealing and grand musical drama that proves his concern for the victims of this life.
I do not share Johan's opinion regarding the quality of this creation:
1. I do not know if it is possible to create a true jazz opera, one that is in keeping with the African-American musical tradition. Porgy and Bess still remains the closest example to this until further notice.
2. Champion makes use of a symphony orchestra and a jazz band speaking alternately. The orchestra often sounds like in a banal soundtrack of a Hollywood movie. The negro soul of jazz is completely missing from this Uncle Tom music. There is more jazz in "The Time of our singing" by Bruges native Kris Defoort than in this work by black jazz trumpeter Terrence Blanchard. There is not a single scene in the piece carried by musical ideas that transcend the banal.
3. In Bruges, there were 14 people in the audience. Quite predictable with this kind of risky creation. In other words, the programming policy of the Live in HD project is very peculiar: the Met manages to broadcast some of its kitsch productions 3 times while strong repertory pieces like Peter Grimes and Lady Macbeth e.g. have never been seen in 15 years.
4. Halfway through, this funny circumstance occurred: in the intermission, a clip of Ivo Van Hove's Don Giovanni was shown. The contrast could not have been greater between the artistry of the genius Mozart and the exasperating dilettantism of Blanchard ! How Champion's composer here went to pieces! Meanwhile, Van Hove's production seems to have grown stronger than its Paris premiere. Incidentally, with the promising Federica Lombardi as Donna Anna.
5. It is well known that the Met is no longer getting its auditorium filled. The strategy now is to promote new works to tap into new and younger audiences. On paper, this is a good strategy for the future. But everyone knows how little time-proof repertoire this has produced over the past 70 years. If the Met really thinks it is building new repertoire with dilettantist productions like this then I wish them good luck !
6. The solution for the Met is the same as for all other opera houses : re-exploring under-played operas with good directors. In addition, it has to support creations that are worth it. Champion is not one of them.
7. Once again one can see how a work is praised to the rafters because of its score in the pecking order of intersectionality honored by the woke brigade (It is about the sadness in the life of a black gay boxer). During his diversity talk, Nézet-Séguin found that Ryan Speedo Green is among "the greatest singers of our time." That's a lot of honor for a mediocre singer with a moderately projecting voice and an unclear timbre.
8. A few times the name Puccini was dropped for comparison. What a bold statement!