The Perfect American

Perfect American

The world premiere of an opera can be somewhat inconsequential (Faust-Ball see), or may be a special time, almost magical. What element makes the difference between the two situations? Definitely, quality and specific gravity of the author.

Philip Glass is the essential element able to meet expectations before an event like this. But with a score well above the libretto, perhaps a little disappointed benevolence with which the end it is the character of Disney, given initial expectations. The novel on which the play is based, The King of America, the Peter Stephan Jungk, It is far more ruthless than the final The Perfect American results.

The world premiere of an opera can be somewhat inconsequential (Faust-Ball see), or may be a special time, almost magical. What element makes the difference between the two situations? Definitely, quality and specific gravity of the author.
Philip Glass is the essential element able to meet expectations before an event like this. But with a score well above the libretto, perhaps a little disappointed benevolence with which the end it is the character of Disney, given initial expectations. The novel on which the play is based, The King of America, the Peter Stephan Jungk, It is far more ruthless than the final The Perfect American results.
Who knows the work of Glass knows that his musical language is not a traditional operatic language. It is full of minimalist peculiarities that make their music is unmistakable in its particularity. But in the American Perfect Philip Glass we discovered a different, which it is an extraordinary creative moment.
After a matured evolution, It has created a line equipped with an unusual musical coherence. The cadence of the music is irresistible from the first chords. An almost hypnotic way, virtuous pace set mainly percussion, trace an impossible way to leave until the end of the work. Under the influence of Brukner, produces recurring long fragments. Glass apparently hidden notes foregrounds and becomes the main theme.
His broad sense of time, almost quiet, reminiscent of the music of Ravi Shankar, It is masterfully combined with sudden changes of pace.

A SIMPLE AND SCENERY brilante
The proposal stage director Phelim McDermott part of an initial challenge, create a dramatization Walt Disney without using any of his famous drawings. Not forget that Disney is, first of all, one of the world's leading brands, including rights.
This has enabled a greater margin of creativity and freshness. For that, It has built a stage space onírico, which resembles an old film studio with some decadent air, almost melancholic, where projections used as main thread descriptor layers or frames that differentiate the different scenes, creating a gap between reality and dreams.
The images of developing simple drawings, creating figures and complementing spaces, pose one of the first reflections of the work, the artistic creative process. The real protagonist over the final work and representing it as a production.

The work is not about the life of Disney, deals with specific time, mainly his last months of life. The relationship with his brother Roy, with the rest of his family. Their fears about the nearness of death and the desire to live forever.
the always delicate dilemma also arises intellectual property. Disney did not create any of the characters, and this conflict have a strong presence in the work through dealing with one of its cartoonists.

The box singers this time is a remarkable balance. The libretto is not extensive, nor is great the difficulty of different characters. But this does not prevent an extraordinary job to make Christopher Purves, widely recognized by the public. It is a well characterized Disney and vocally transmitting the power and personality of the character. The same vowel forcefulness that showed David Pttsinger, Roy Disney. Both singers pasted perfectly into duos.
Donald Kaasch, another big name in this theater, created a cartoonist defiant and obstreperous than the Disney brothers faced in a plane of balance and equality.

Wall Disney had built an automaton of Abraham Lincoln that appears in the work and is used to discover the darkest personality of the protagonist. An awesome (for its size) Zachary James, Life al autóata Lincoln.

Another of the figures that appear related to the protagonist is Andy Warhol, represented by tenor John Easterlin, well known and recognized by the Madrid public and master equip their characters a necessary histrionics to round.
Highlight this time, and they are already many, the performance of the choir. A perfect filling for a beautiful particelle which are produced by Glass, along with a pair of single cello, the most beautiful notes of this new work so full of delicacy and intimate moments.

The musical director Dennis Russell Davies demonstrates his perfect knowledge of the author and his work. Orchestra draws a delicate sound, crisp and full of freshness and put your grain of sand in the growing professionalism and quality of the Madrid Symphony Orchestra. The percussion sounds are primarily responsible for the personality of this work.

It is important to record some details. The almost unanimous favorable opinion from an audience that applauded amply, and the abundance of young audience in the stalls. east end, together with the international impact that has had this world premiere, satisfy two of the reasons why Gerard Mortier was hired by the Royal Theater: attract new audiences and put the theater on the international scene.

The Perfect American
Philip Glass (1937)
Teatro Real, opera in two acts
Rudy Wurlitzer libretto
D. musical: Dennis Russell Davies
D. scene: Phelim McDermott
Purves, Pitt Inger, Kaasch, Kelly,
McLaughlin, Tynan, Fikret, Lomas,
James, Easterlin, Noval-Moro, Gálvez, Buñuel.