Le Grand Macabre at the NY Philharmonic

This is my week for opera premieres.  On Thursday night, I attended the first NY performance of Ligeti's spectacular operatic fantasy, "Le Grand Macabre," at the NY Philharmonic.  And tonight I will attend the world premiere of Jorge Martin's "Before Night Falls" at the Fort Worth opera.

"Le Grand Macabre" is prime evidence that the NY Philharmonic made the correct choice in inviting Alan Gilbert to be their musical director.  The NY Philharmonic, as America's first major permanent symphony orchestra, should be the leader in bringing new music to the concert public.  Even though this is a belated premiere (the piece originally dates from the mid-1970s, and was performed in a revised version from 1996) of a piece whose composer passed away a few years ago, it is apparently the first American concert staging, following a single opera house staging some years ago in San Francisco.  Putting an extension on the stage and adding complex machinery to project live action and miniature sets on to a big circular screen looming over the orchestra, and presenting extraordinary costumes for the performers, this production by Doug Fitch lacked nothing in theatricality.  Despite the presence of a somewhat reduced NYP on the stage, this had the feeling of a staged operatic performance.

The story is a bit nonsensical, and I had the feeling at times of Monty Python, because of the elements of slapstick in the choreography.  The performers were, each and every one, spectacular.  This was not on my subscription, but a friend and I had secured tickets after attending the City Opera's production of Handel's "Partenope" and being totally taken by the young countertenor, Anthony Roth Costanzo.  Our subsequent research revealed that he would have a leading role in this production, so we quickly secured tickets.  Mr Costanzo's part appears only after the intermission, but it is extensive, and he was captivating.  So the man can sing both Handel and Ligeti with authority - a fascinating mix.

I understand Mr. Gilbert has chosen something a bit less esoteric for next year's opera in concert - some Janacek that has been presented staged in New York.  But I hope he will be encouraged by the rapturous response of the New York concert growd (the performances are sold out, and the audience response last night was frenetically enthusiastic) as a sign that he can be more adventurous in subsequent seasons.