By Jacob Stockinger
Jazz and classical music are not so different, says Swiss-born composer Daniel Schnyder.
For Schnyder, it is more than an academic matter. He puts his point of view into action in his acclaimed chamber opera “Charlie Parker’s Yardbird,” which deals with the life of the bebop saxophone player and jazz giant. (You can see the YouTube trailer for the productions by Opera Philadelphia and the Apollo Theater in Harlem at the bottom.)
The Madison Opera will offer the work’s Midwest premiere when it stages the chamber opera this Friday night (NOT Saturday night, as first mistakenly posted here) at 8 p.m. and Sunday afternoon at 2:30 p.m. Both performances are in the Capitol Theater of the Overture Center. (Performances photos below are from the world premiere at Opera Philadelphia.)
Here is a link to more general information about the opera, tickets, the cast and the production:
Daniel Schnyder (below) — who will perform a FREE concert of the music of Charlie Parker and do a question-and-answer session on this Thursday night at 7:30 p.m. (NOT 7 p.m. as mistakenly first stated here) in Morphy Hall on the UW-Madison campus — also agreed to an email interview with The Ear:
What was the work’s genesis and what gave you the idea for “Charlie Parker’s Yardbird”? Are you a big jazz fan and did you see the work as a way to meld the jazz and classical styles of music?
I am a jazz fan. I am also a jazz musician and I love to compose, play and improvise in the jazz idiom. I have recorded more than 30 jazz CDs.
I love to combine jazz and classical music. I just finished a symphony for orchestra and big band, a commission by the Temple University in Philadelphia.
I do not see classical music and jazz as two completely different things. Jazz is by nature a synthesis of European music influences and African music.
The idea from the very beginning was to write an opera for Lawrence Brownlee, the great African-American tenor. Opera Philadelphia asked me to write a work for him and we tried several libretto options. After hearing a recital by Larry singing gospel songs, I came up with the idea to write an opera about Charlie Parker’s life.
How would you describe the musical style of the opera in terms of tonality and melody, and its accessibility to the general public? What were the audience reactions in Philadelphia and New York City?
In both places, the audiences were very moved by the story and the music. The topic hit a nerve, something our society has to reflect upon, a general issue that concerns us all as a nation.
The music itself is not hard to listen to and moves swiftly. For the orchestra and singers, the opera is rather challenging, since Charlie Parker (below) was a virtuoso. The music moves fast and often in off-beat rhythms that are unusual for classical musicians. There are also a lot of odd meters and tricky patterns that sometimes connect to Parker’s music and sometimes relate to the music that came after him.
The audience will have a ball. There are 12-tone music passages reflecting on new music and opera — mostly in Nica’s parts — but there are a lot of R&B influences and jazz and Latin music grooves.
It would be false to see the opera as a patchwork of different musical sequences and styles. It is my music that is based on all these influences. The opera can be described as a modern music carpet with lots of colors of today’s music, rather than a quilt.
In what ways do you see the characters and the story as offering lessons and being relevant to today?
I guess this is obvious: Our society has to understand that different cultures and different ethnic backgrounds enrich America and are fundamental to its culture and success.
If we go down the path of segregation, divisiveness and disrespect, we all will lose. Jazz is the great coming together of different heritages, the roots of America, and it conquered the world.
We still erect barriers in society and music that are detrimental to growth and innovation. Other contemporary issues are also important in the opera, such as being a single parent, drug addiction and faith.
The opera also highlights that jazz musicians at the time could not earn money from recorded music, something that is true again today. The stealing of royalties from Parker and Dizzie Gillespie were different from today’s issues of streaming, but the problem of jazz musicians not receiving money for their creative works stays the same.
In the opera, Parker discusses the very nature of music, its volatility and the fact that you cannot physically possess it. This is one of the reasons why he wants to write the music down on paper. He wants to make it abstract, but realizes that he loses some of the essence of what he wants to say. That is the dilemma of the composer.
He also reflects on the notation system, which was not designed for jazz. He sings: “How can I put down these black dots on white paper, how can I capture these sheets of sound?”
The opera reflects on American history, but it simultaneously relates to today’s world. This is not just some nice story about the past; it is about us.
Quite a few other productions have been planned. What do you think explains the work’s popularity? Do you think it attracts new audiences to opera?
There might be many different reasons for that:
1) There are very few operas using the modern jazz idiom.
2) There are very few operas in which the leading roles are African-American.
3) The opera is flexible; it can be produced with a moderate budget in a lot of different venues. It is mobile, which is similar to L’Histoire du Soldat (The Soldier’s Tale) by Igor Stravinsky. It also has a length of just over 100 minutes.
4) As mentioned above, the opera hits a nerve; it is about our time and about us.
5) Charlie Parker is a legend, but very few people really know about him and his music. People are intrigued.
6) The music is very accessible; it can be played on the radio without getting boring or incomprehensible. Some modern operas rely a lot on light, staging and special visual effects. This opera works more like Carmen or a Verdi opera, told through the music.
7) It is an opera, not a musical. It only uses a song format in a few instances. The opera is composed in an open and evolving format, connected by leitmotifs similar to Wagner’s operas.
The music definitely has a lot of jazz influences, but the format is mostly one not used in jazz music. That creates a new experience. It does not fit into one of the known “drawers” of music, so it can be tempting to try to compare it to their pieces but it sticks out as musically different.
8) The opera is composed very close to the sound and rhythms of the words. Hence you can understand a lot. The language is very direct and clear, close to spoken language. That helps. You can actually understand a lot of the lyrics without reading the supertitles.
I tried to avoid the Strauss or Wagner effect of creating something where the mix of complex language and complex music creates something beautiful but often incomprehensible. French and Italian operas are better in this regard. “Yardbird” has a message that needs to be understood.
9) There are many riddles in the opera – musical riddles, but also hidden messages and references in the text – that can be explored. The opera plays in a twilight zone between death and life. This is also intriguing.
Is there something else you would like to say about yourself and the opera?
I enjoyed writing the opera very much. It was a great pleasure and an honor to reflect on one of the great music geniuses in American history.
By Jacob Stockinger
The Madison Opera has some good news to share:
National Endowment for the Arts Chairman Jane Chu has approved more than $30 million in grants as part of the NEA’s first major funding announcement for fiscal year 2017.
Included in this announcement is an Art Works grant of $20,000 to Madison Opera to support the Midwest premiere of Daniel Schnyder’s Charlie Parker’s Yardbird on Friday night, Feb. 10, and Sunday afternoon, Feb. 12, 2017.
The Art Works category focuses on the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts.
“The arts are for all of us, and by supporting organizations such as Madison Opera, the National Endowment for the Arts is providing more opportunities for the public to engage with the arts,” said NEA Chairman Jane Chu. “Whether in a theater, a town square, a museum, or a hospital, the arts are everywhere and make our lives richer.”
Madison Opera will be only the second company to present Charlie Parker’s Yardbird, which premiered in spring 2015 at Opera Philadelphia (below, with Lawrence Brownlee in the title role on the right and the real Charlie Parker on the left). You can see and hear the trailer for the Opera Philadelphia production in the YouTube video at the bottom.
Set on the night that saxophone great Charlie Parker died, the opera begins with Parker returning in spirit to the jazz club Birdland, determined to compose a final masterpiece. Family and friends blend in and out of his memories in an acclaimed new work that tells of his tortured, brilliant life “with a pulsing, jazz-infused score” (The New York Times).
Madison Opera’s performances take place in the Capitol Theater of the Overture Center and are directed by Ron Daniels and conducted by John DeMain.
The cast features Joshua Stewart, Angela Brown, Will Liverman, Rachel Sterrenberg, Julie Miller, Angela Mortellaro, and Krysty Swann.
“It is an honor to receive a grant from the National Endowment for the Arts and be recognized for our artistic work on a national level,” says Madison Opera General Director Kathryn Smith (below, in a photo by James Gill). “The NEA’s funding will not only help us share this thrilling new opera with our region, but also support an array of Charlie Parker-related events, allowing true community engagement with the opera and its subject.”
In addition to the public performance on Feb. 10 and 12, 2017, Madison Opera’s “Extending the Stage” activities include “Jazz at the Opera Center,” a concert with Richie Cole and the Alto Madness Orchestra on Jan. 8; Opera Novice on Jan. 20; Opera Up Close on Feb. 5; “A Charlie Parker Concert and Discussion” with the Swiss composer Daniel Schnyder and UW-Madison’s Blue Note Ensemble on Feb. 9; and a variety of previews and presentations on Charlie Parker, jazz, and the opera at various libraries and retirement communities.
For more information on any of these events, got to: madisonopera.org.
For more information on projects included in the NEA grant announcement, go to arts.gov/news.
Madison Opera is a non-profit professional opera company based in Madison, Wisconsin. Founded in 1961, the company grew from a local workshop presenting community singers in English-language productions to a nationally recognized organization producing diverse repertoire and presenting leading American opera singers alongside emerging talent.
A resident organization of the Overture Center for the Arts, Madison Opera presents three productions annually in addition to the free summer concert Opera in the Park and a host of educational programming.
By Jacob Stockinger
Even as it prepares for the annual Opera in the Park gala on July 23, the Madison Opera has announced its 2016-17 season, which is a combination of both the classic and the adventurous, even the intriguingly experimental.
http://www.madisonopera.org/performances-2016-2017/
Here is a list of productions with links to more details about the productions, cast, tickets and related events:
Nov. 4 and 6 in Overture Hall: “Romeo and Juliet” by Charles Gounod (below) with conductor John DeMain and members of the Madison Symphony Orchestra:
http://www.madisonopera.org/performances-2016-2017/romeo-and-juliet/
Feb. 10 and 12 in the Capitol Theater: “Charlie Parker’s Yardbird” by Swiss composer Daniel Schnyder (below) with John DeMain and members of the MSO:
http://www.madisonopera.org/performances-2016-2017/charlie-parkers-yardbird/
April 21 and 23 in Overture Hall: “The Magic Flute” by Wolfgang Amadeus Mozart (below) with guest conductor Gary Thor Wedow:
http://www.madisonopera.org/performances-2016-2017/the-magic-flute/
The operas by Gounod and Mozart are well-known staples of the repertoire.
But “Charlie Parker’s Yardbird” is new and will be a local, perhaps even regional, premiere and one of the earliest repeat performances of the new work.
The Ear thinks early Bravos are in order for such contemporary crossover programming that also focuses on race, diversity and African American culture. It also seems like a natural choice for John DeMain, who won a Grammy for the first all-black production of George Gershwin’s opera “Porgy and Bess.”
The new opera opened recently to fine reviews at the Apollo Theater in Harlem in New York City. (Below, in a photo by Dominic Mercier for Opera Philadelphia, is tenor Lawrence Brownlee in the title role of alto saxophonist and jazz great Charlie Parker.)
Here is a link to a background story about the work that appeared on the Deceptive Cadence blog of National Public Radio, or NPR, which first broadcast it on All Things Considered:
Here are members of the world premiere production talking about the work:
And here is a trailer with samples of the music and singing: