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!
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!