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| Starting with a bang. (Sorry, I couldn't help it.) |
The piece was a setting of a classical Arabic story in which Qays ibn al-Mulawwah falls madly in for Layla, whom he met while a young man. Yet, his love overcame him, driving him to the point of madness, causing her father to forbid their marriage. He becomes known instead as Majnun, a term reserved in Arabic for the insane or possessed.
The performance opened with a reading of the story, featuring the sound of the Arabic poetry. Once the oratorio was fully underway, however, the array of solo vocalists performed in Arabic, Farsi, Urdi, Turkish, Mongolian, and French. As the movements continued, it became obvious that this was a composition about the sound and flexibility of the human voice. For a quick example, this (http://www.youtube.com/watch?v=DY1pcEtHI_w) was one of the included techniques, something few of the audience members likely knew was possible!
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| Waiting for Royalty |
To be completely honest, however, I must say that it was Bruno Le Levreur who stood out among the impressive cast of performers. His contra-tenor (singing in the high female soprano range) was controlled, lyric, and graceful. When his moments approached, the bed of music around him lowered into simple, classical accompaniments. The purity of his tone emphasized the balanced melodies and heightened the aura of elegance that spread across Bab al-Makina.
The composition itself straddled that difficult line, bringing Arabic musical ideas and stylings into Western classical space. Amar negotiated the space between the melodically-driven "Eastern" elements and the harmonically-centered "Western" by often privileging the modes, melodies, and ornaments that are so common here in Morocco and elsewhere in the Arab world. Phrases were long, exercising the listeners' patience, rewarding them with beautifully rendered cadences and closures. Non-Western scales pervaded the work, but they were often underpinned by similarly expansive harmonies from the strings or pulsing rhythms from the deep percussion.
It is easy to become used to hearing vocal acrobatics in the form of high, fast, or powerful notes and sounds, but the featured performers tonight challenged, and ultimately extended, expectations. By including vocalists from unique traditions across North Africa, the Middle East, and Asia, the oratorio focused on exploring the breath and sound of the human body. In doing so, it attempted to make concrete the connection between spirit and body, of the sacred of religious experience and the sacred of artistic expression.
The composition itself straddled that difficult line, bringing Arabic musical ideas and stylings into Western classical space. Amar negotiated the space between the melodically-driven "Eastern" elements and the harmonically-centered "Western" by often privileging the modes, melodies, and ornaments that are so common here in Morocco and elsewhere in the Arab world. Phrases were long, exercising the listeners' patience, rewarding them with beautifully rendered cadences and closures. Non-Western scales pervaded the work, but they were often underpinned by similarly expansive harmonies from the strings or pulsing rhythms from the deep percussion.
It is easy to become used to hearing vocal acrobatics in the form of high, fast, or powerful notes and sounds, but the featured performers tonight challenged, and ultimately extended, expectations. By including vocalists from unique traditions across North Africa, the Middle East, and Asia, the oratorio focused on exploring the breath and sound of the human body. In doing so, it attempted to make concrete the connection between spirit and body, of the sacred of religious experience and the sacred of artistic expression.
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