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Minimalist American composer and conductor John Coolidge Adams was born in New York City on February 15, 1947. As a composer of contemporary classical music, he is known for his operas, which are often based on current events and have been performed many times. Additionally, he has written orchestral, concertante and vocal works, as well as electroacoustic and piano compositions.
It is sung by a saxophone quartet, pianos, and an electronic synthesizer in a chamber orchestra that does not include a bassoon, French horn or tuba. Percussion instruments include a woodblock, sandpaper blocks, slapsticks, and sleigh bells, as well as a variety of other special effects. Before the chorus of Chinese soldiers sings solemn couplets against a subdued instrumental backdrop, an orchestral prelude plays a series of repetitive ascending phrases (Goodman et al., 1988). Fragmented, brassy chords that sound like a cosmic chorale punctuate the hypnotic, quietly intense backdrop. Upon the arrival of Nixon and his entourage, the orchestra bursts into a heavy din of momentous pomp with big band burts, rockish riffs, and shards of fanfares. (Goodman et al., 1988). When Nixon, Mao, and Chou En-sharp lais exchanges are juxtaposed with the seemingly aimless wandering of the melodic lines in the more reflective sections of the work, it suggests that music best serves the libretto in sections of rapid dialogue.
Despite its reputation, Nixon in China has a far more diverse and subtle palette, including big band music with a heavy saxophone presence, eerie dance music, and a prolonged, Wagnerian resolution. Carneiro maintained a ponderous tempo, with the orchestra and chorus taking their time to warm up to the punchy energies of Adams in minimalist mode. An interesting aspect of Adamss lyrical genius is how he set the atmosphere through the choice of music. The initial sense of apprehension subsided as the performers self-assurance grew. This was the first opera in the UK to utilize a subtle amplification system, provided by German specialists d&b audiotechnik (Briscoe & Safford, 2008). Its a plain opera with minimalistic elements, Nixon in China. In the 1960s, this style of music became popular in the United States, replacing traditional music. In place of the melodic development associated with traditional music, it is characterized by stasis and repetition.
Orchestral works by Adams are known for their use of driving, brassy figures and sweetly reflective string and woodwind harmonies to depict the opera (Johnson, 2016). Adams has an uncanny ability to recognize the dramatic potential of recurring melodies, harmonies, and rhythms, and to change the mix of these elements to reflect the action onstage. Nixons era is brought to life through the use of pop culture references from the music of the time.
The opera perplexed me with its quirky modern aesthetics and deep structure. It is constantly evoking new ideas in Joe Bidens America, as was evident in Nixons era. The opera illustrates that Nixon did not see a problem with communism, positing new ideas that lead one to question why he made the comment. It showcases an eloquent and surprising libretto, with each act providing various commentary and interpretation opportunities. The opera illustrates a beautiful ensemble with passages and choruses that elicit deep concern in individuals, a factor the author may have intended the audience to note. Nixon in China evidences brilliance and wit, sense of theatre, and lyrical beauty, leaving critics marveling at the subtle nature it posits the most contentious topics of this era. Individuals such as Maddalena showcase Adams excellence as he makes an engaging and satisfying piece within a myriad of public and talks gestures.
Nixon in China is a perfect example of minimalist performance; it exhibits powerful issues within its set era while using subtle issues to showcase the writers meaning. In one interesting scene, Pat Nixon is given an elephant doll that she claims is symbolic of the republican party (Johnson, 2016). The scene occurs with vibrant light, alluding to the partys moral mandate to propagate democratic views. It is interesting to note Mao and Nixon do not communicate for long periods within the opera, with the principal interaction occurring at night, a factor that leads one to wonder whether it implies their shared distrust of the others system. The writer uses light and imaging to posit various notions in the audiences brains, leading to engaging thought on the issues facing both nations at the time.
Conclusively, Nixon in China opera has positive and negative perspectives. There are issues with the operas presentation. In addition, despite the operas subject matters intrinsic interest, the operas message is tedious, too kind, and boring. Its as if the composer isnt sure what he wants to say. However, Pat Nixons portrayal as an I-love-Lucy-worthy ditz is a complete misrepresentation. As a result, Nixon in China did not present the audience with images of complex and powerful figures under great stress at a historical moment, but rather with weak and flawed individuals who were unable to perform their assigned duties. A characters strength was demonstrated most clearly by Chou En-was lais ability to watch the other characters squirm awkwardly while remaining poised and mute.
References
Briscoe, F., & Safford, S. (2008). The Nixon-in-China effect: Activism, imitation, and the institutionalization of contentious practices. Administrative Science Quarterly, 53(3), 460491. Web.
Goodman, A. J., Sylvan, A., Maddalena, S. J., Hammons, T., Opatz, M., Friedman, S., Dry, M., Duykers, J., Page, C., & Craney, T. E. (1988). Nixon in China: Opera in Three acts. Nonesuch.
Johnson, T. A. (2016). John Adamss Nixon in China: Musical analysis, historical and political perspectives. Routledge.
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