Distinguished Concerts International - New York

Eric Whitacre's Paradise Lost: Shadows and Wings

by Kathryn J Allwine Bacasmot

A review of our March 8, 2011 concert

Chicago Classical Music

Apparently the (unofficial) theme at the 2011 American Choral Directors Association National Conference, which concluded last weekend and occupied a half-mile swath of Michigan Avenue by Symphony Center, was "movement." Fitting, then, that the "prelude" to the conference was Eric Whitacre's Paradise Lost: Shadows and Wings, his foray into the world of musical theater presented by Distinguished Concerts International New York. Yes, musical theater.

Taking a creative risk results in one of two outcomes for any artist: 1) s/he can discover s/he has the corner market on a specific niche and should stick to it, or 2) s/he reveals her/himself to be one of a rare breed whose talent has the ability to dwell comfortably within any context. Lucky for all of us, Eric Whitacre is the latter.

Having achieved the "classical" music world's equivalency to rock star status (a totally cliché term, but descriptive nonetheless) with choral works like Lux Aurumque, Cloudburst, and Sleep, Mr. Whitacre could have taken the easy way out by simply turning out more lush and complex choral harmonies - and he may yet have more where that came from. But as it is for any true artist, satisfaction remains elusive, and the hunger to challenge personal creative limits is the invisible hand always pushing, prodding, and guiding into new territories. In this case he was led to musical theater, or, to cop a term he used when I spoke with him, "opera electronica," an impressive fusion of electronic and acoustic music throbbing with relentless, passionate, energy, and soaring with crystalline beauty.

I'm not going to pretend I wasn't a little bit skeptical at the concept when I first heard about it. In fact, I think letting you know that I was going to be a harder sell makes the fact I was totally sold from the first note all the more compelling evidence that Mr. Whitacre and his whole cast and crew are that talented. The words "musical theatre" in my mind usually evoke one experience too many of hearing vocalists belting out show tunes in hallways just because they can. But, the moment I walked into the theatre and took a seat during rehearsals on Monday I was sold. This isn't merely musical theatre - this is theatre of the imagination set to some pretty awesome music. After the performance as we walked down State Street, my friend and I could not stop talking to each other about what we had seen, and one of the comments we both made was we each felt we had just watched a movie unfolding before us in live action (complete with some astonishingly creative vocal sound effects). In short, if you love musical theater already, you'll need no convincing. You already know this is a fantastic production from a very talented man. So, I'm not writing this review for you, musical theater lovers - this one is for the skeptics.

Having gone through numerous transformations since its initial inception several years ago, the story has finally settled on a central tension between two lovers, Exstasis and Logos, members of a tribe of displaced angels removed from Paradise during years of war (the latter detail being its only link to Milton's masterpiece). What results is a kind of morality play about freedom over fear as told through metaphors of desiring flight or siding (violently) with gravity. Extasis sees visions (with a little help from some "amber," which allows all the angelic figures heightened awareness), and out of those envisions another way of life outside of the walls in which their parents - now long gone - placed them during a great war for protection, taking and hiding their wings to ensure their safety. All she wants to do is fly, and in her flight regain paradise. Logos, who has emerged as the leader of the tribe, true to his name espouses truth through words that he calls "The Principles": loyalty, honesty, courage, etc. Rather than viewing the walls as a prison, Logos views them as assurance of safety, and he is willing to do anything (truly, anything, we find out as the story unfolds) to keep his vision of order intact. One could choose to delve into layer after layer of metaphor, or simply take the story at face value and call it a day. Either interpretation would work, which is another great "something for everyone" aspect in the production.

Far from being too heavy handed, the story is often actually quite funny - especially thanks to the outstanding comedic timing of Rodolfo Nieto, as Gravitas, and Daniel Tatar, as Fervio. Rounding out the cast were Doug Kreeger as the Logos' over zealous right-hand-angel, Ignis, and Sara Jean Ford as the sassy, hard-edged, Pieta (whom one does in fact pity), and Marie Wallace as the most standard angelic figure of the bunch, Aia. Hila Plitmann portrayed Extasis with extremely compelling fervency, and Damon Kirsche was thoroughly convincing to the edge of terrifying in Logos' torment. David Noroña's narration blended seamlessly into the action rather than chop it up as narration can be wont to do. The chorus, made up from high school students to adults who auditioned to participate, was phenomenal as were the musicians: Greg Chun, DJ; On Ensemble, Taiko/percussion; Fang Fang Xu, cello. Mr. Whitacre conducted. ...

Tuesday at 2pm, performing to a sizeable, but not full, audience of mostly established adult ACDA attendees, is no Friday night at Carnegie Hall, but you would have never known it from the amount of passion and energy pouring out from each and every member of the chorus, soloists, and musicians. It was reciprocated in the rousing standing ovation from the appreciative audience. That is the true measure of excellence - giving 200% not matter what, no matter when. It was a privilege and an honor to behold with my own eyes. As a friend recently observed to me, Mr. Whitacre fully commits to an emotion in his work and holds you captive in that moment, whatever it is. It was entirely refreshing to be swept up and moved. Completely beyond my control my skin seized up into goose bumps several times. I could have sat through the entire performance again right there and then. In fact, I wanted that (with no such luck). The sounds were simply thrilling, they haunt you, and you need to hear them. I feel a bit badly saying that to you since shows have been somewhat sporadic thus far. But, take this as an early warning to keep an eye out for the next opportunity to go see Eric Whitacre's Paradise Lost: Shadows and Wings (anyone going to be in Los Angeles June 25th - you're in luck!).