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Keeping opera relevant

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Photo courtesy of Florentine Opera.

A common misperception about opera is that it is a historical relic. Year after year, from the Met to La Scala, endless supplies of “La traviata,” “The Magic Flute” and “Tosca” lend credence to that notion.

And while these and other top 10 favorites dominate playbills, real live composers are making important contributions to the 400-year-old art form, casting timely music dramas that speak to family relationships, AIDS/HIV, death row, wars in Vietnam, Iraq and Afghanistan and other topics.

Until recently, Opera Birmingham fell mostly into the category of warhorse producer, every few years cycling through the “Carmen,”  “Barber of Seville,” “Marriage of Figaro” and “Aida” shows that pulled in established clientele. Modern composers such as Philip Glass, Tan Dun, John Adams and Jake Heggie, whose operas were garnering worldwide acclaim, were bypassed.

Keith Wolfe, Opera Birmingham’s general director since January 2015, would like to bring the company more up to date, and at the same time retain a foothold on the classics. 

In 2015-16, Wolfe’s first full season bore that out.

Verdi’s “La traviata” contrasted with two chamber operas by Ricky Ian Gordon, “Green Sneakers” and “Orpheus and Euridice.” The two main-stage shows in 2016-17 continue the pattern with Jake Heggie’s 2008 “Three Decembers” in January and Donizetti’s 19th-century classic, “The Elixir of Love,” in March.

Wolfe recently talked about the season and his long-term vision for Opera Birmingham.

Q: Why perform contemporary opera?

A: One of the roles art should play is to help evaluate what we think, challenge our views of the world.  Opera has lost that in the past, but it’s starting to come back. It’s so exciting to see the range of contemporary works being offered. Science, human relationships, war — so many interesting topics are being explored.

Q: How can you convince established audiences as well as newcomers to subscribe to contemporary opera?

A: It takes some time to build audiences, so there has to be a commitment within the organization, not just trying it and saying it didn’t work. It involves educating the audience as to why we’re doing the works. 

The other great opportunity is that the composers are still here. We brought Ricky Ian Gordon last year, and we’re talking about bringing Jake Heggie. It’s an opportunity to not just hear the works but to talk with the composer about them.

Q: Is this the right place and time to make this happen?

A: We have a great light-music scene in Birmingham. A lot is happening downtown, with new venues opening for performances of all kinds. Last season we turned to Red Mountain Theatre Company for their cabaret space, where there is already an expectation of interesting work happening. There is so much potential in tapping into a market that some people wouldn’t think of as opera.

Q: Last season’s “Green Sneakers” dealt with the tragedy of AIDS. What other new operas would you like to bring to Birmingham?

A: High on my list is “Glory Denied,” the true story of an American POW who was held for nine years in Vietnam and has to put his life together after his release. 

“Soldier Songs,” “An American Soldier” and “Fallujah” are three very different pieces, but all deal with soldiers’ experiences. 

And clearly there’s a long history here with civil rights. We could use those stories to have a bigger conversation in the community.

Q: What are some of the main issues in this season’s “Three Decembers”?

A: It explores family relationships and conflicts. Maddy, a music-theater star and single mother, has raised two children who believe their father was killed in a car accident. Her son’s partner is dying from AIDS, and her daughter is an alcoholic. It takes place over three decades, in December, and you see how life has progressed for them. The show is as much about the story as it is about Jake Heggie’s music, which is so theatrical.

Q: At the opposite end of the spectrum, Donizetti’s “The Elixir of Love” comes from the heart of 19th-century Italian opera, a staple of operatic literature.

A: We will always continue to produce grand opera. It’s the core of what we do. I love “La bohème” and “La traviata” and “Elixir,” but that’s a different kind of art. We are looking at ways to expand our audiences, and a big part of that is exploring contemporary repertoire.

Opera Birmingham: 2016-17 schedule

For tickets and more information, call 322-6737 or go to operabirmingham.org.

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