Nixon in China (opera) - Music

Music

Nixon in China contains elements of minimalism. This musical style originated in the United States in the 1960s and is characterized by stasis and repetition in place of the melodic development associated with conventional music. Although Adams is associated with minimalism, the composer's biographer, Sarah Cahill asserts that of the composers classed as minimalists, Adams is "by far the most anchored in Western classical tradition".

Timothy Johnson contends that Nixon in China goes beyond minimalism in important ways.. Adams had been inspired, in developing his art, by minimalist composers such as Philip Glass, Steve Reich, and Terry Riley, and this is reflected in the work by repetitive rhythmic patterns. However, the opera's complex harmonic structures are very different from the simpler ones in, for example, Glass's Einstein on the Beach, which Adams terms "mindlessly repetitive"; Johnson nevertheless considers the Glass opera an influence on Nixon in China . As Glass's techniques did not allow Adams to accomplish what he wanted, he employed a system of constantly shifting metric organizational schemes to supplement the repeated rhythms in the opera. The music is marked by metrical dissonance, which occur both for musical reasons, and in response to the text of the opera.

The New York Times critic Allan Kozinn writes that with Nixon in China, Adams had produced a score that is both "minimalist and eclectic ... In the orchestral interludes one hears references, both passing and lingering, to everything from Wagner to Gershwin and Philip Glass." In reviewing the first recording of the work, Gramophone's critic discusses the mixture of styles and concludes that "minimalist the score emphatically is not". Other commentators have evoked "neo-classical Stravinsky", and concocted the term "Mahler-meets-minimalism", in attempts to pinpoint the opera's idiom.

The opera is scored for an orchestra augmented by saxophones, pianos, and electronic synthesizer. The percussion section incorporates numerous special effects, including a wood block, sandpaper blocks, slapsticks and sleigh bells. The work opens with an orchestral prelude of repetitive ascending phrases, after which a chorus of the Chinese military sings solemn couplets against a subdued instrumental background. This, writes Tommasini, creates "a hypnotic, quietly intense backdrop, pierced by fractured, brassy chords like some cosmic chorale", in a manner reminiscent of Philip Glass. Tommasini contrasts this with the arrival of Nixon and his entourage, when the orchestra erupts with "... big band bursts, rockish riffs and shards of fanfares: a heavy din of momentous pomp". Gramophone's critic compares the sharply written exchanges between Nixon, Mao and Chou En-lai with the seemingly aimless wandering of the melodic lines in the more reflective sections of the work, concluding that the music best serves the libretto in passages of rapid dialogue. Tommasini observes that Nixon's own vocal lines reflect the real-life president's personal awkwardness and social unease.

The differences in perspective between East and West are set forth early in the first act, and underscored musically: while the Chinese of the chorus see the countryside as fields ready for harvest, the fruits of their labor and full of potential, the Nixons describe what they saw from the windows of the Spirit of '76 as a barren landscape. This gap is reflected in the music: the chorus for the workers is marked by what Johnson terms "a wide-ranging palette of harmonic colors", the Western perspective is shown by the "quick, descending, dismissive cadential gesture" which follows Nixon's description of his travels.

The second act opens with warm and reflective music culminating in Pat Nixon's tender aria "This is prophetic". The main focus of the act, however, is the Chinese revolutionary opera-ballet, The Red Detachment of Women, "a riot of clashing styles" according to Tommasini, reminiscent of agitprop theatre with added elements of Strauss waltzes, blasts of jazz and 1930s Stravinsky. The internal opera is followed by a monologue, "I am the wife of Mao Tse-tung" in which Chiang Ch'ing, Mao's wife, rails against counterrevolutionary elements in full coloratura soprano mode that culminates in a high D, appropriate for a character who in real life was a former actress given to self-dramatization. Critic Thomas May notes that, in the third act, her "pose as a power-hungry Queen of the Night gives way to wistful regret". In this final, "surreal" act the concluding thoughts of Chou En-lai are described by Tommasini as "deeply affecting". The act incorporates a brief foxtrot episode, choreographed by Morris, illustrating Pat Nixon's memories of her youth in the 1930s.

Critic Robert Stein identifies Adams's particular strengths in his orchestral writing as "motoring, brassy figures and sweetly reflective string and woodwind harmonies", a view echoed by Gregory Carpenter in the liner notes to the 2009 Naxos recording of the opera. Carpenter pinpoints Adams's "uncanny talent for recognising the dramatic possibilities of continually repeating melodies, harmonies and rhythms", and his ability to change the mix of these elements to reflect the onstage action. The feel of the Nixon era is recreated through popular music references; Sellars has observed that some of the music associated with Nixon is derived from the big band sound of the late 1930s, when the Nixons fell in love. Other commentators have noted Adams's limitations as a melodist, and his reliance for long stretches on what critic Donal Henahan has described as "a prosaically chanted recitative style". However, Robert Hugill, reviewing the 2006 English National Opera revival, found that the sometimes tedious "endless arpeggios" are often followed by gripping music which immediately re-engages the listener's interest. This verdict contrasts with that of Davis after the original Houston performance; Davis commented that Adams' inexperience as an opera writer was evident in often "turgid instrumentation", and that at points where "the music must be the crucial and defining element ... Adams fails to do the job".