What a weekend! It’s Wednesday and I’m still tired.
Thursday, Dave and I went to the American Mavericks opening concert at Davies — works by Copland and Harrison and Ives, the last being the wonderful Brant orchestration of the Concord Sonata.
Friday night was the second performance of The Manga Flute. A very full house and a great performance. Dave and I watched it from the back row of the balcony, where the visuals are less effective but the sound is better. The supertitles are party obstructed from there, but I thought you hardly needed them — the sound of orchestra and singers is better blended up there and it was easy to make out the words. Of course, I can usually remember what people are singing on any given line, so I’m not necessarily the most accurate judge of that.
The performance was very polished — the whole show zipped along happily, acting was sharper, everybody’s characters seemed a notch or two more focused and intense than they were on opening, the music (both singing and orchestra) was confident and full of detail and nuance, and set changes and other cues were crisp. Lovely.
Saturday night, Dave and I headed to the Castro Theater to see a beautifully restored print of Children of Paradise. It’s a favorite of Dave’s. Me, I like parts of it enormously but other parts seem kind of silly to me, and the whole movie strikes me as being at least a half hour too long for the story it’s telling. But the story is rich and many-layered, and I’m never bored by it, even in the places where the story and characters feel a bit too dry and mechanical for my taste.
Sunday afternoon was the final performance of Manga Flute, and it was even better than Friday’s. Tempi were more energetic, transitions between scenes were tighter and smoother, the dialogue scenes were brisker and more focused, and the whole show felt like its energy level had been cranked up a notch or two.
Monday, the SF Chronicle‘s review came out — overall a rave, though with a few qualifications. The prize paragraph for my résumé is this:
Chief among the pleasures of the piece is the sleek virtuosity of Marley’s English libretto, which — like his many previous efforts for the company – turns the foreign-language original into a faithful, witty and effortlessly naturalistic translation. The rhymes all fall where they should and the sense of the text remains intact — and all without any impression of strain.
I’m a bit startled, though, that he calls the libretto “faithful”, says in the above quote that “the sense of the text remains intact”, and writes elsewhere that “the plot remains largely intact”. It seems to me that — after you get past the first musical number, at least — my plot is just about entirely different from Schikaneder’s and only gets more obviously so as it progresses, and that the few places where the English words are more or less faithful to the German original — the Queen of the Night’s second-act aria, for example, and some individual lines and couplets here and there in Papageno’s second-act solo scene (the one leading to the entrance of the Raccoons and then Papagena) — are very much the exceptions.
But I shall choose to interpret this as meaning that Mr. Kosman found that the story and the words fit the music so well that they create the illusion in the theater of being exactly right for the score, and thank him for the compliment.