“Is this going to be, like, atonal?” the young man behind me asked his companion. The pair were settling into their seats at Jazz at Lincoln Center, just before the recently-revived New York City Opera's performance of Florencia en el Amazonas, on Wednesday evening.
“Nah, I heard it's actually really pretty music,” came the response. “Thank god. I can't deal with that kind of contemporary music without a single melody.”
Indeed, if I had not know that Daniel Catán's score had been composed in the 1990s, I might have guessed that it had been composed in the 1890s. Not only are there melodies galore, but the music swells with the sort of late Romanticism that Richard Strauss might have given two thumbs up. (The only ear-catching touch comes from a quirky percussion instrumentation that features harps, marimbas, djembes and steel drums.) It was the first Spanish-language opera to be premièred at a major United States house, having been co-commissioned by Houston Grand Opera, Los Angeles Opera and Seattle Opera in 1996. After its first performances in Houston and Los Angeles, it has swept across the country, getting performed from Seattle to Colorado to Nashville over the last dozen years. The Nashville Opera production by stage director John Hoomes was here presented to uproarious approval.
Maybe it is fitting then, given its widespread popularity, that the music would be relatively inoffensive. The soaring Romanticism further makes sense given the story of the opera, in which a cast of García-Márquezian characters float down the Amazon River on a steamboat rife with passion and yearning. The dual Romantic themes of love and nature intertwine as the river takes on human qualities and the voice of the title character, opera singer Florencia Grimaldi, takes on the qualities of a butterfly. This conflation of the human with the nonhuman, and the natural with the artificial, was perfectly portrayed in Nicholas Villeneuve's choreography and restaging, in which the dance troupe BHdos embodied the river itself. Clad in silvery blue bodysuits, they swayed and fluttered along the front of the stage, transforming the river into a living entity in a way that Catán's melodies and orchestration could not.