A Vision Realized: Exploring the nuances of LA Opera‘s “Hildegard”
LA Opera, in partnership with Beth Morrison Projects, has presented a compelling new work at The Wallis: a chamber opera titled “Hildegard,” composed by Ellen Reid Snider. This isn’t a straightforward biographical retelling of the 12th-century mystic Hildegard of Bingen. Rather, snider crafts a captivating exploration of influence, spirituality, and the blossoming of a complex relationship, all filtered through a modern musical lens.You’ll find yourself captivated by the opera’s subtle power and intricate layers.
A Composer’s dialog Across Centuries
Snider’s work joins a growing trend in contemporary opera. It’s a trend where composers engage with the musical spirit of their predecessors, rather than simply recreating it. Think of operas inspired by Monteverdi or Purcell. In these instances, one composer’s music subtly conveys the essence of another.
“Hildegard” takes this path, drawing inspiration from the unique melodic and expressive qualities of Hildegard of Bingen’s compositions.Though, Snider doesn’t attempt a pastiche.She uses the spirit of Hildegard’s music as a starting point for something entirely new.
Unfolding the Narrative: A Gradual Revelation
The opera is scored for a nine-member chamber ensemble – string quartet, bass, harp, flute, clarinet, and bassoon – drawn from the L.A. Opera Orchestra. Gabriel Crouch‘s direction,informed by his background in early music,provides a sensitive framework.
The structure is deliberately paced. The first act unfolds through nine short scenes, followed by five more in the second, punctuated by an entr’acte and epilogue. Each scene begins with a brief instrumental introduction. These often feature rhythmic patterns reminiscent of Steve Reich or short melodic motifs that evolve throughout the scene, creating a sense of forward momentum.
Snider’s approach to the vocal lines is notably noteworthy. While Hildegard’s vocal writing was known for its expansive melodies, Snider opts for a more conversational style. Characters are revealed gradually, allowing their personalities to emerge organically. You won’t immediately grasp Richardis’s significance; her character deepens in the second act. Even Hildegard’s visions are suggested rather than explicitly staged.
A Lush soundscape & Powerful Performances
Beneath the surface lies a captivating intricacy in the instrumental ensemble. Short choral passages, featuring a couple of angels, add a layer of lushness.
The second act marks a turning point. The relationship between hildegard and Richardis intensifies, and the music swells with a rapture that surpasses even the most profound spiritual experiences. Ultimately, “Hildegard” demands patience. The opera,like the saint it portrays,rewards those willing to invest in its unfolding. The spiritual transformation arrives powerfully in the epilogue.
The cast is uniformly excellent. soprano Nola richardson portrays Hildegard as a seemingly cool and efficient abbess. Yet, she subtly reveals the radiant inner life that fuels her every action. Mikaela Bennett‘s Richardis provides a striking contrast with her darker, more dramatic soprano. Their duets are genuinely spine-tingling.
Tenor Roy Hage shines as volmar, Hildegard’s trusted confidant, while baritone David Adam Moore embodies the tormenting abbot. Even the smaller roles – monks, angels, and others – are filled with compelling voices.
Design & A Critical Note on Amplification
The production design is thoughtfully conceived. Marsha Ginsberg’s set design, incorporating miniature church models, and Deborah Johnson’s light-show projections create a concentrated and immersive space for the music and movement.
However, the production’s reliance on amplification is a point of contention. While understandable given the demands of five performances and a dress rehearsal over six days, the amplification introduces a certain crudeness to the sound. It diminishes the subtlety of the instrumental ensemble – a harp passage can become overwhelming, a clarinet piercing - and reduces the individuality of the singers’ voices.
In a setting meant to evoke quiet contemplation, the lack of silence feels jarring. Perhaps, though, this is intentional. Perhaps it reflects our modern tendency to amplify conflict, both worldly and spiritual, rather than embracing quiet reflection.
Performance Details:
* Where: The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills
* When: Through November 9th (performances
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