Osvaldo Golijov: Ainadamar

Osvaldo Golijov: Ainadamar

Osvaldo Golijov: Ainadamar
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Music CD Cover

Composer: Osvaldo Golijov
Conductor: Robert Spano
Performer: Adam Del Monte
Performer: Andrew York
Performer: William Kanengiser
Orchestra: Atlanta Symphony Orchestra
Performer: Dawn Upshaw
Performer: Sean Mayer
Edition: Music CD
CD Release Date: 2006-05-09
Music Label: Deutsche Grammophon
Soundtracks:
  1. Preludio De Agua Y Caballo
  2. Balada
  3. Mariana, Tus Ojos
  4. Bar Albor De Madrid
  5. Desde Mi Ventamna (Aria A La Estatua De Mariana)
  6. Muerte A Caballo
  7. Balada
  8. Quiero Arrancarme Los Ojos
  9. A La Habana
  10. Quiero Cantar Entre Las Explosiones
  11. Arresto
  12. La Fuente De Las Lagrimas
  13. Confesion
  14. Interludio De Balazos Y Lamento Por La Muerte De Federico
  15. Balada
  16. De Mi Fuente Tu Emerges
  17. Tome Su Mano
  18. Crepusculo Delirante
  19. Doy Mi Sangre
  20. Yo Soy La Libertad

Free Music Notes for Osvaldo Golijov: Ainadamar

Free Music Review: Operatic cartoon
Hit: 2 Stars

The rhythms are exciting, some of the orchestration is clever and well-done. Listening to the CD overcomes some of the problems of a live production: achieving a balance between acoustic and amplified music, overcoming the lack of contrast (almost all women's voices) and utter lack of dramatic movement (nothing happens). The voices are good and perform the music well. Still, there is not much here for them to work with and the result is mediocre.

The music, while catchy at first, is simple, undeveloped and repetitive. The story lacks drama and movement. It is essentially a reverie on Lorca, not the man, his poetry, his sexuality, his art or politics but just some tired ahistorical cliches about freedom and fighting facism climaxing in his assassination. And just like the music, if you missed the obvious don't worry they will play it again, and again, and again.

I'm sorry there is just nothing new or interesting here. The music and story are simple cliches in a slick packaging for shallow mutli-cultural consumption. No difficult ideas to promt thought or conversation, no dissonant music to interfere with light entertainment. It would make great background music for an animated cartoon. But I expect a little more from something that aspires to call itself opera.

Osvaldo Golijov: Ainadamar Poster

This unique, 80-minute opera must be heard. The title means "Fountain of Tears" in Arabic and refers to the place in Granada where Federico Garcia Lorca was executed by Fascist soldiers in 1936. The work opens in a theater in Uruguay in 1969. As the actress Margarita Xirgu, who collaborated with Lorca in the 1920s and '30s, is about to go on stage, she recalls memories of him and his death and the survivor's guilt she feels. Musical images take us back as well. The sounds of hoofbeats, a fountain, and gun shots punctuate the otherwise beautiful, tonal, highly Spanish-influenced score, filled with flamenco and rumba rhythms. The vocal lines are all highly singable as well as dramatic. The work is mostly scored for women's voices: Margartita, sung by Dawn Upshaw; Lorca himself, sung by Kelley O'Connor; Nuria, Margarita's student, sung by Jessica Rivera. There is also an ensemble of women's voices that do most of the work. Margarita dies just before going onstage. The trio for her, Nuria, and Lorca is about as beautiful as anything you'll ever hear. "What a sad day it was in Granada / The stones began to cry" is a refrain that recurs throughout the opera, and the whole piece is sheer poetry. This is stunning. --Robert Levine

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