Krumping with Rameau

As I stated in my November 2018 post “Debussy + Trampoline (shameless self-plug!), in the art world, there are times when the combination of two or more dissimilar elements can lead to something truly astonishing and transporting.

Another case in point: this incredible production of Jean-Philippe Rameau’s 1735 opera Les Indes galantes. Rameau’s work is technically an opéra-ballet, which unites both sung and danced elements to create a dramatic whole. In this particular staging, though (from the Paris Opera in fall 2019), Baroque music and period instruments lives in harmony with… krumping? Yup. For their updated reimagining, film director Clément Cogitore and choreographer Bintou Dembélé chose to use modern dance styles throughout the opera instead of historically-accurate ballet.

The original opera is, quite frankly, a bit of a Eurocentric (i.e., racist) mess when considered from a modern standpoint. The plot follows various love stories set in “exotic” locations (the Ottoman Empire, Peru, Persia, North America) and ends with a peaceful coming-together of Europeans and Native Americans courtesy of a “savage” dance. Yikes and double yikes. However, this modern staging somehow appears to transcend all of that, more bluntly addressing issues of prejudice, otherness, and what it truly means to be a global community.

At the very least, though, it’s a mesmerizing production to watch. Check out the two clips below and see for yourself…

Bach’s Delectable “Coffee Cantata”

J.S. Bach never wrote any operas, but his secular Cantata—Schweigt stille, plaudert nicht, BWV 211—is probably the closest we’ll get to hearing what a Bach opera could have been like. Commonly known as the “Coffee Cantata,” this mini drama for small orchestra and three singers was likely first presented in 1735, at the Café Zimmermann in Leipzig. Coffee drinking was the new craze sweeping Europe, but for some, the drink was still controversial, as its side effects were not fully known yet. (If only they could fast-forward to the twenty-first century!)

Bach’s Coffee Cantata is charming, humorous, and, yes, a tad ridiculous. The plot follows a young woman (Lieschen) who is chastised by her father (Schlendrian) for her coffee-drinking habit. Schlendrian threatens to take away Lieschen’s possessions and privileges in an attempt to win her obedience but to no avail. Finally, when the father vows to prevent his daughter from marrying, Lieschen agrees to give up coffee. But, Lieschen has one final trick up her sleeve: she tells potential husbands that their marriage contract has to allow her to drink coffee whenever she desires.

The moral of the story comes in the final chorus:

Cats do not give up mousing,
girls remain coffee-sisters.
The mother adores her coffee-habit,
and grandma also drank it,
so who can blame the daughters!

Pamela Dellal

Recently, the Netherlands Bach Society—who is in the midst of a multi-year project to create high-quality video recordings of Bach’s works—mounted a staged version of the Coffee Cantata. The results, seen below, are delightful and only amplify the charms and humor of what is perhaps Bach’s quirkiest work.

An English translation of the Cantata’s German text can be found here.

Gabriella Smith: “Carrot Revolution”

The future of classical music is a shaping up to be a promising one, especially with such a solid generation of young composers on the horizon. From the hyperkinetic sound worlds of Andrew Norman to the Hindustani influences of Reena Esmail, there is sure to be no shortage of vibrant new music in the future. (Though it will be up to orchestras and other arts organizations to actually program this music—stay tuned for a post about this in the near future…)

Located within this department of “up-and-coming composers you should know about” is the Northern California-born Gabriella Smith. With a number of prestigious chamber and orchestral performances already under her belt (including the LA Phil), she clearly has a promising career ahead.

Currently, one of Smith’s best-known pieces is the amazingly-titled string quartet Carrot Revolution, written for the Aizuri Quartet in 2015 and recorded for the first time this past fall. The work immediately strikes the listener as something totally fresh, yet familiar. Percussive string effects at the opening give way to a wild musical journey, complete with snatches of minimalism, bluegrass, and rock along the way. (Keep an ear out for a glimpse of The Who’s “Baba O’Riley“). It’s a breathtaking, eleven-minute ride for both the quartet and listeners, but one that is well worth taking.