`Voyage' Is Bold but No Surprises

By Thor Eckert Jr., Monitor | The Christian Science Monitor, October 23, 1992 | Go to article overview

`Voyage' Is Bold but No Surprises


Thor Eckert Jr., Monitor, The Christian Science Monitor


WITH the world premiere of Philip Glass's "The Voyage," the Metropolitan Opera has offered its second commissioned opera in as many seasons, after a hiatus of 26 years.

The opera, which opened last week, is loosely inspired by the quincentenary of Christopher Columbus's historic and currently controversial crossing of the Atlantic. Glass has stated in numerous interviews that he was not interested in depicting Columbus's discovery yet again, but rather in probing the spirit of exploration. The production, designed by Robert Israel, is full of arresting sets and startling scene changes - floating poles, rooms that pull apart, a bed that ascends to the stars - that take full advantage of the Met's stage.

Glass's scenario begins with a Stephen Hawkings-like scientist ruminating on quarks and black holes, then segues to a spaceship about to crash on Earth circa 15,000 BC. The second act unfolds in Columbus's imagination - his departure from Barcelona, his nightmarish dreams during the crossing. The final act takes place in 2900 AD and culminates with a spaceship launch.

Musically, Glass has moved dramatically away from the endlessly repeated patterns that came to be known as "minimalism." In fact, the first act is a new stretch for Glass - an expansive, harmonically more varied, rhythmically more inventive, dramatically more riveting, arching 50-minute whole. The remaining two acts do not continue at such an inspired level. The second is a long meditation for Columbus, and the third a rather elegiac hodgepodge. Both offer moments of beauty and drama, and Columbus's renunciation of the ghost of Isabella makes for an eloquent finale.

Ironically, when I listened to a tape of the Theta Radio Network broadcast of the world-premiere performance, I found much more to admire in those acts once the music was divorced from the disappointingly trivial and even stale images imposed on it by debuting director David Pountney: Where Glass and his librettist David Henry Hwang ask for a scene in India, Pountney gives us a throng of schoolchildren; where a spectacular space launch is indicated, Poutney gives us a puny ICBM and an irritating, gratuitous mass assassination. …

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