Last night I saw the Minnesota Opera production of the world premiere of The Fix(Joel Puckett, music; Eric Simonson, libretto). I anticipated West Side Storymeets Field of Dreams with athletic, Jerome Robbins-style choreography. What I got was a delicately wrought, gorgeously orchestrated, beautifully sung paean to a lost American dream.
The Fix is about the White Sox throwing the 1919 World Series and facing the music. It towers above other premier commissions here (one a year), many based on movies, that adhere to the parlando conventions of 21st century American opera, shy of long melodic lines, duets and trios, and standout vocal writing.
The Fix fixed all that.
Puckett should be a household word. He uses a fresh idiom inflected with a southern twang especially appropriate to the story of Shoeless Joe Jackson. He employs his large orchestra to create a kaleidoscope of delicate sonorities as well as grand orchestral gestures.
The rhythms shift subtly with a certain relentless ticking and chiming that drives the tale forward. The music serves the libretto, often to a fault, and Puckett is unafraid of a swelling melody, the meat and potatoes of the standard repertoire.
Ring Lardner’s aria, “I love this team, Hugh,” is an anthem to the dream of human perfection even in so unlikely a candidate as the illiterate “country bumpkin,” Jackson. It is a standout moment movingly sung by Kelly Markgraf. It’s why we bother to go to the opera at all, and so rarely get in the landscape of new compositions that leave melody to Broadway.
The cast is enormous, 20 singers. The ensemble is the real triumph here. Each character is distinct and the voices are uniformly accomplished.
Special kudos to Minnesota Opera for using a multicultural mix for the eight white White Sox players and for casting an African-American woman as Joe’s wife. It’s good to keep us on our toes and remind us how things have and haven’t changed.
The opera is a magnificent gift to the entire ensemble, offering a wide range of musically distinct character parts. To these ears, the standouts were Wei Wu as Chick Gandil, Margraf as Ring Lardner, and Joshua Dennis (the Duke of Mantua here last season, and Roméo before that) as Shoeless Joe. They sang so cleanly that I rarely had to look at the supertitles.
The only significant female role was Joe’s wife. The lack of female leads was somewhat unavoidable, but at least they worked Katie in, sung by Jasmine Habersham. She’s young, with a Papagena-Despina-Norina background and a lyric future judging from the heft and bloom of her voice.
The production itself is handsome and effective. A unit set, the backside of Comisky Park, functions dramatically and allows for constant cinematic scene shifts from bar to kitchen to court to playing field. Flexible, engaging, and it worked.
I saw the first night. By the end of the run the kinks should be worked out, the performances less cautious. Judging from what I saw, Joel Puckett and Minnesota Opera hit it out of the park.
The Art of the Children of Terezin, Prague
[Terezin (Theresienstadt) was a Nazi concentration camp outside Prague where Jewish artists and intellectuals (and many children) were sent. The art of the Children of Terezin is in the Jewish Museum in the former Ghetto of Prague, Josefov, Old Town, beside the ancient Jewish cemetery.]
Memories of the Children of Terezin.
Memorie dei bambini di Terezin.
In the adjacent synagogue
Two German boys with earrings
And cutoffs sing close harmony.
Their sweet adolescent chant echoes
In the women’s galleries.
No kites or balloons here
But those imagined or remembered;
Children’s games obscured by
Beautiful young students,
The language of Goethe and Hegel
On their tongues, bright, fresh-faced,
Pass through thickets of gravestones
To see the dead children’s art.
Erinnerungen an die kinder von Terezin.
Barbed wire encircles the
Ancient brick walls;
tears on stone;
sunlight through glass
children lined up for food,
games never played,
lives never lived.
Les memoirs des enfants du Terezin.
The shamefully beautiful scent
Of jasmine blooming,
A funeral cortege,
A yellow star;
Neither blood nor carnage,
Only the long shadow
Of the distant smokestack.
Memories of the Children of Terezin.
Sleep, children, whisper the echoes;
Schlaf, meine kinder;
Remember, children, sing the birds,
Gedenken, meine kinder;
Peace, children, whisper the leaves,
The Old Jewish Cemetry, Prague
Josefov, Jew’s Town.
Sequestered cobbled lanes.
The Golem trod
this quiet ground
where generations sleep.
Stilled tumult of stone
overturned by the anarchy
of animus and time,
your shadows murmur distant lullabies
where our sequestered tribe
sang wedding songs, danced, wept
for another homeland lost.
Long have they slept,
through fragrant spring and
their numbers swept up in smoke
with only these tumbling
gravestones to remind.
The dead garden rings with songbirds
and the murmur of tourists
videotaping the ancient graves,
the rustle of leaves underfoot,
fluttering prayers scribbled on
scraps of paper
anchored with pebbles
on time-blackened lions.
Across the square you can still hear
the relentless chiming
of the Hebrew clock
in the town hall tower
erected in a vibrant ghetto
“Is that the firehouse?” one of my American friends asked?
I was taking them on a walking tour of Venice.
“It sure is,” I said.
I led them onto the adjacent bridge so they could look at the fireboats parked in bays inside the enormous stone palazzo.
“Holy cow,” was my friends’ general reaction. They had forgotten that fire engines would be useless in a city with no streets. In Venice there were fire boats, a very few to cover almost the entire lagoon.
“Do you think they’d let us inside?” Martha, one of Americans asked. “We always check out the fire departments wherever we go.”
They were firehouse aficionados and collected tee shirts and other souvenirs every time they visited one in the U.S. and abroad.
“There’s only one way to find out,” I said.
We rang the doorbell and waited. Eventually a man answered the door. He was wearing a Venetian red polo shirt with Vigili del fuoco embroidered over their logo. Martha leaned into my ear. “We have to get some of those,” she said.
In my poor but well-intentioned Italian I asked if we could tour the firehouse. In his poor but well-intentioned English he told me to wait a minute, one of his coworkers spoke English.
When the English-speaker saw three youngish, attractive, American women in our group he was all welcoming smiles.
“Come in,” he said. “We show you everything.”
And they did. We got up close and personal with the fireboats in their bays as well as the warehouse where they refurbished and repaired boats.
They pointed out the Captain’s boat, more elegant than any water taxi, with special pride. They spent a lot of time polishing it.
After we had inspected the boats they took us inside for a quick walk-through that eventually led to the spacious, modern kitchen.
“Can we offer you prosecco?” our guide asked.
“Absolutely,” Martha answered without missing a beat.
He looked at everyone else and perceived that not all were enthusiastic about wine at 11am.
“We have soda too,” he said, surprised that anyone would turn down a prosecco. He and his cohorts fetched bottles of Prosecco and sodas from the fridge and poured them while the Americans peppered them with questions about putting out fires in a city like Venice.
“I love your shirt,” Martha finally said. “Could I buy one?”
He looked over at his boss, uncertain of something I couldn’t decode. His boss nodded. “Quanto?” the younger fireman asked sotto voce.
They obviously had never been asked to sell them and decided on twenty euros a piece as a fair price. The Americans bought six and wore them proudly as we headed out toward our original goal, the bridge across the Giudecca Canal constructed on the backs of boats once a year for the Festa della Redentore.
If you arrive in Venice by train, this is what you see first as you walk out of the station.
Because there are no streets as we understand them, Venetians have different words for different types of pedestrian passages.
These narrow streets are called calle.
This calle is wider, has shops on both sides, and leads into a campo, or square. Streets that were originally paved (as opposed to mud paths) were called salizada.
A street that runs along a canal is a fondamenta.
Here’s a canal, a fondamenta, and a calle.
The Zattere is a long boulevard-y fondamenta along the Giudecca Canal, the channel separating Venice proper from the adjacent island of Giudecca.
Altanas, which are not unique to Venice, are wooden decks built on rooftops.
The altana on the left is smallish. The one on the right is adjacent to the roof terrace of the building I lived in near the Accademia.
A pozzo is a well. Since Venice had no access to fresh water until an aqueduct was built in 1886, they depended on capturing rain in these clever pozzi built over cisterns with sand filtration systems. Every campo, or square, had a pozzo, as did the courtyards and gardens of people who could afford them. When water was finally piped into the city, the pozzi were sealed. In order to qualify as a campo, a square needed both a church and a pozzo; if it had only a pozzo, it was considered a campiello — a little square.
A sottoportego is a passageway where a street runs though the ground floor of a building.
Here is a sottoportego leading to a campiello with a pozzo.
Acqua alta, which literally means “high water”, refers to the recurring extremely high tides that flood much of the city. Wooden walkways above the sidewalks, called passarelle, are put out in advance (hopefully) of the acqua alta.
Acqua alta doesn’t stop anyone from grabbing a coffee at their favorite bar.
The campi are the centers of neighborhood life. This is Campo San Giacomo del’Orio where I shopped and grabbed coffee and sat and watched the Tuesday night tango dancing for three years until I moved near the Accademia.
Venice is divided into six districts or sestieri: San Marco, Castello, Canagreggio, Dorsoduro, San Polo, and Santa Croce. Campo San Giacomo is in Santa Croce.
Laundry day in Castello.
The library of the San Giorgio Maggiore complex, dating to the renaissance, had a nice filing system: an author’s works were shelved under his statue. You had to know what Plato or Plautus looked like.
And a couple miscellaneous items I couldn’t resist.
A renaissance keystone on an arch over a water door along a canal. You always have to look up as well as down when walking in Venice; you never know what you might see.
A group of school children stop to listen to this gentleman play “The Dance of the Sugar Plum Fairy” on crystal glasses filled to different levels with water to produce different tones. This particular spot was not far from my garden gate, and with my windows open I often heard him playing. He’s pretty good although the repertoire is limited.