https://www.opera.hu/en/programme/2024-2025/nixon-kinaban-2024/
Live relay on Operavision 29/09/’24 and then on the site until March
https://operavision.eu/performance/nixon-china
These comments on the above performance need to start with remarks about the nature of the space where the performance took place as not only was it not a traditional proscenium arch theatre but what was done with the space was an important and imaginative part of the whole exciting and remarkable experience.
The locomotive hall, as its name suggests, was originally used for the construction and repair of stream engines. It is a very large, high-ceilinged and cavernous space with an attractively patterned very high ceiling of arching steel girders. On one (long) side, there remains a steam engine and carriage, the latter of which was used in the course of the production.
Normally this area is the extensive lobby to the small, studio-style theatre where performances usually take place. Here however the whole space was used. Down one long side ran tiered seating while slightly above the topmost row was a lengthy balcony which was home to the sound, video/ and lighting personnel. This meant that there was no visual distraction for the audience.
Adjacent to this seating was the space for the (vast) orchestra while across the rear wall, at right-angles to the main seating area, was another set of tiered seats. Opposite the main seating was the railway engine and carriage while suspended above these were three large video screens which had traditional Chinese painted screen images on them during the times when they were not being used as video screens. At various times, but relatively infrequently, these screens showed contemporary footage of Nixon’s actual visit to China, including his arrival on Air Force One and an excerpt from his itinerary.
The rest of the space, in front of and below the areas described above was the performing area. There were three platforms (one large in the middle, two smaller at the ends) upon which most of the actions took place. At times the three were used independently, particularly effective in the ballet sequence. At other times, we followed the action as it moved from one to another, as with Pat Nixon’s visits to various temples. At others, characters who were not involved in a particular scene were visible on an unused platform. This was a smart way to constantly use all the space e and, certainly with Chou En Lai, or Kissinger suggested how they were important players in the game all the time, even if not shown as actually participating in certain scenes. It subtly suggested the backstage machinations that must have been a permanent and necessary part of this whole visit.
The skillful and impressive use of the whole space (with an enormous, extremely good chorus that looked almost twice its normal size) was a wonderful match for the monumental music, the massive blocks of sound ringing round the hall. The acoustics of the hall are, I think pretty good and although the solo singers were miked, this was in no way intrusive or offensive. This was particularly true in the opening and the major public scenes, while the use of one stage (at times incorporating the interior of the railway carriage) allowed us to focus on details o/f performance and relationships. This was particularly effective with the relationship between Pat and Richard Nixon, which was thoughtfully explored, over the course of the whole performance. For this, and much else that made this such a striking and effective work for the theater, the librettist Alice Goodman must be credited. She well understood what was required by the words of a libretto – enough to convey, sometimes allusively, essential information about the scene and characters but not so much that there is nothing left for the composer and music to add.
Given this style of production, it would have been easy for the individual performances to be somewhat overwhelmed by the surroundings but this was certainly not the case.
As Nixon, Karoly Szemeredy, used both his voice and body to convey the intriguing combination in Nixon of eagerness and uncertainty. He completely mastered the music, painting the words very well and his body language caught the effortful nature of Nixon trying to be both relaxed and authoritative. His occasional, not excessive, use of Nixon’s iconic ‘double V for Victory’ sign was judiciously effective. Klara Kolonits made a very sympathetic and warm Pat Nixon – not qualities one automatically associated with her and the warmth and commitment of her dedication to, and love for, Nixon (and his to her) was one of the best elements of the work and provided a necessary contrast to the ‘public’ elements of the story. This necessarily reminded us that while there were great global issues being played out on the public stage, they were being enacted by unique individuals.
Zoltan Nyari coped well with the style and tessitura in the role of Mao – the strength and force of the music providing a powerfully ironic contrast to the elderly and fragile body. His use of still ness was very effective. As Madam Mao Rita Racz coped effortlessly with the stratospheric demands of her Act 2 aria, but was equally moving in the later domestic scenes with Mao. As with Richard and Pat Nixon, she gave us a glimpse of an individual and their personal relationship rather than their global/political role. Lusine Sahakyan, Anna Csenge Furjes and Diana Ivett Kiss very stylishly and accurately performed as his three secretaries
Istvan Kovacs as Kissinger and Malik Azit as Chou En Lai, inhabited the roles well, particularly the rather beautifully voiced Malik who managed to suggest considerable power and influence in a subtle way – the ultimate backroom strategist. There were some nice humorous acknowledgements of Kissinger’s reputation as a ‘ladies’ man’ too.
The vast forces were superbly coordinated by Gergely Vajda and the orchestra, and the aforementioned chorus, as ever, covered themselves with glory, doing full justice to this remarkable work.
Let’s hope for more creative future uses of this space.