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Eastman Opera Theatre stage director Octavio Cardenas and conductor Wilson Southerland collaborated in 2023 for the school’s first Spanish-language opera production, Daniel Catán’s “Florencia en las Amazonas.”
Now they are collaborating again with Eastman students on another, and very different, opera in Spanish. “Florencia” was a magical romance with a highly romantic score; Osvaldo Golijov’s “Ainadamar” is a surrealistic tragedy centered on a great 20th century Spanish writers, Federico Garcia Lorca, and the actress who served as his muse.
First performed in 2003, “Ainadamar” has been frequently performed, won a Grammy Award in 2007, and had a successful Metropolitan Opera premiere last fall. Eastman Opera Theatre is presenting “Ainadamar” this weekend in Kodak Hall.
Cardenas says Lorca (1898-1936) is as revered in the Hispanic world as Shakespeare is among English speakers: “Productions of his plays are still events among Spanish-speaking audiences,” he notes. Lorca was also an outspoken advocate for socialism and the poor, and open about his homosexuality. Both made him an enemy of Francisco Franco’s Fascist Falangist party, and Lorca was assassinated in August 1936 near a location called Ainadamar, or “Fountain of Tears” in Arabic. His remains have never been found.
Lorca’s murder is the centerpiece of “Ainadamar,” as imagined by his friend, Margarita Xirgu, an actress who created roles in several of Lorca’s plays (she can be seen in a 1938 film of Lorca’s “Blood Wedding”). The opera begins in 1969, as she waits to go onstage in a revival of his tragedy “Mariana Pineda.” Questioned by a young actress named Nuria, she imagines Lorca’s death, which she thinks she could have prevented. As Margarita dies, she is absolved of guilt by Lorca’s spirit; they will inspire Nuria and the next generation of artists and freedom fighters.
“Even in the deepest sorrow, the spirit of art remains unbroken,” says Cardenas. “Garcia Lorca’s words remind us that we are never truly gone, for art endures beyond the pain of loss.”
The action of“Ainadamar”divides into three brief “images” without an intermission andis not linear; Eastman’s production will move fluidly between the events of 1936 and 1969, on an abstract unit set painted in bright colors. Cardenas points out that “Lorca was a close friend of Salvador Dali, who designed several of Lorca’s plays. Our approach is suggested by Dali’s surrealism, and also on drawings by Lorca himself.”
Lorca had originally planned to be a pianist and composer, so it’s appropriate that he has become an operatic character (played by a mezzo-soprano in “Ainadamar”). He was also a scholar of flamenco, the gutsy, sometimes violent Spanish style of dancing and singing, calling it “a point of common longing and perfect passion.”
Composer Golijov takes that historical cue and runs with it. According to Southerland, musical director of “Ainadamar,” the opera is full of flamenco rhythms and vocal stylings, along with other sounds of Spain and Cuba. The orchestra includes two guitarists and a host of Latin percussion instruments.
Those stylings may not come naturally to conservatory-trained opera singers. The student cast is even learning some simple flamenco dance steps and hand movements with Lisa Piccione, a choreographer from the Hochstein School.
“It’s an ancient style that’s been passed down through centuries as an oral tradition,” says Southerland. “It’s vocabulary has never been written down.”
“This style was not in the students’ comfort zone,” adds Cardenas, “but they’re doing very well.”
Lovers of traditional opera may not be familiar with this colorful and compelling work, but Cardenas believes they’ll enjoy it as much as Verdi or Puccini.
“Ainadamarhas drama, comedy, dancing, and great music—everything an opera should have,” he says. “And all in 80 minutes.”
Eastman Opera Theatre presents Osvaldo Golijov’s “Ainadamar”on April 3, 4, 5 at 7:30 p.m. and April 6 at 2:30 p.m. in Kodak Hall at Eastman Theatre. Ticket information is available here. (“Ainadamar” uses strobe lighting and includes sensitive subject matter involving simulated smoking and gunshots.)
David Raymond is a Rochester Beacon contributing writer.
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