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Monday, May 28, 2012

Spoleto Update: 2012 Festival launches with salt and Glass, Phoenix and Fever

REVELATIONS: Alvin Ailey American Dance Theatre helped launch opening weekend at Spoleto 2012 in Charleston.
  • Nan Melville
  • REVELATIONS: Alvin Ailey American Dance Theatre helped launch opening weekend of Spoleto 2012 in Charleston.
It's only the opening weekend of Spoleto 2012, and already two new operas have had their American premieres, a Japanese artist has moved viewers with simple table salt, a Dublin theatre troupe has delighted audiences, and a classic New York dance company has dazzled the city. The annual arts festival is officially underway in Charleston, South Carolina, having opened on Friday, May 25, and is slated to run for two more weeks.

Philip Glass' Kepler has been produced in Europe before and has been performed in concert versions in the US, but on Saturday, May 25, the work was given its first full-scale US production at Charleston's Sottile Theatre, where it continues through June 2. The repeating arpeggios of Glass' music can test even the most fastidious orchestra's accuracy, but the orchestra, especially during the second act, was able to develop the piece's subtlety and power on opening night. Kepler is an abstract work in which the central drama is a shift in consciousness, as it is in many of Glass' operas: the German astronomer Kepler, who believed that God had hidden himself in the mathematical principles of the universe, fundamentally changed how human beings perceived the cosmos. The chorus ending Act I is especially dramatic as the members of the church sing out an accusational "Vanitas vanitatum" (Vanity of vanities). The church took his work as a challenge to a theistic view of the universe, even though it was not his intention.

Because the piece is so cerebral and meditative, staging it can be a challenge. How do you make a set piece that shows a changing mathematical conception of the universe? Although the minimalist backdrop and simple costumes of the American production do allow for a spacious, undistracted contemplation of Glass' music, things are a bit too static. The feeling is often more oratorio than opera, and a giant screen seems underutilized. When the screen briefly shows a slowly moving, abstract image of a smoky, revolving galaxy, the work truly comes alive.

STAR POWER: Shen Tiemei lights up the stage in Feng Ye Ting.
  • Julia Lynn
  • STAR POWER: Shen Tiemei lights up the stage in "Feng Yi Ting."
Also having its American premiere is contemporary Chinese composer Guo Wenjing's Feng Yi Ting or The Phoenix Pavillion, which opened Saturday, May 26, and continues through June 7 at the Dock Street Theatre. The compact little one-hour two-person opera tells the story of a courtesan who foments a court rivalry towards a bloody end. Under filmmaker Atom Egoyan's taut direction, the show has the eerie, shadow-filled, suspenseful, violent, sinister atmosphere of a film noir. The jaw-droppingly glamorous soprano Shen Tiemei is called upon to carry most of the show in a complicated role in which she is both victim and manipulator, a sacrifice to palace intrigue and its instigator, the beautiful debutante who is far more knowing than she lets on. The show is like an object lesson in the effective combination of set, gorgeous costumes, movement, and music, though its unusual format takes a moment to grasp. The composition harkens back to traditional Chinese forms and utilizes Chinese instruments like the pipa and dizi, but recontextualizes them with touches of more familiar twentieth century classical Western tonalities. Having two such challenging works shown to American audiences for the first time is a daring programming move by Spoleto organizers, and it's a credit to audiences here that they seemed receptive to such widely different types of new music.

Also the subject of festival buzz this year were performances by the Alvin Ailey American Dance Theatre. Charleston's delighted surprise served to remind us how lucky Atlanta is to have such a strong relationship with the Ailey company and its annual visits to the Fox. It's an amazing company that puts on a killer show. We'll be generous and share with Charleston.

KALEIDOSCOPE IN WHITE: Japanese artist Matoi Yamamoto creates installations with salt in memory of his sister.
  • Morisawa
  • KALEIDOSCOPE IN WHITE: Japanese artist Matoi Yamamoto creates installations with salt in memory of his sister.
Spoleto is known for its emphasis on the performing arts, but Japanese visual artist Matoi Yamamato's installation at the Halsey Center, Return to the Sea, has made a surprisingly large impression at this year's festival. More than a few South Carolina viewers have seen the chaotic, swirling patterns of a radar map of a hurricane (news of a possible tropical storm headed towards the East Coast on Saturday may have helped) in Yamamoto's painstakingly created installation, poured out in salt by the artist on the gallery floor over a period of eleven days (The storm fizzled out, dropping just a few pathetic sprinkles on the city but giving the surfers a nice ride out on Folly Beach).

At the artist's talk that filled a theater in the Simmons Center, Yamamato explained through a translator that his salt pieces are created in memory of his sister who died in 1994 of brain cancer: each swirl in the pattern represents a small memory of her, and through the process of creation, he seeks to connect back to her memory. A central part of his process is the dismantling of each installation, as members of the community sweep up the salt and carry it back to the sea. The Charleston dismantling will take place on Saturday, July 7, at 4 pm.

Still ahead are more performances of the Gate Theatre of Dublin's production of Noël Coward's Hay Fever, concerts by k.d. lang and Mavis Staples, dance by Cedar Lake Ballet and performances by the controversial monologist Mike Daisey. The festival continues for two more weekends. Check Spoleto for details.

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