SANTA CRUZ - Human history is characterized by random sequences of progress
and regression...  sometimes, confusingly, a combination of the two.

Example of mostly progress:  a bet over horses in the 1850s led directly to
the technology that made the remake of "The Planet of the Apes" possible a
century and a half later.

Example of undeniable regression:  Marin Alsop, who 20 years ago played
the violin in the Brooklyn Academy of Music premiere of Philip Glass' "The
Photographer," tonight conducted the work's West Coast premiere at the
opening of the 38th annual Cabrillo Music Festival here.

The connection:  the hero of Glass' opera/"mixed media work"/"experience"
is Eadweard Muybridge (nee Edward James Muggeridge), who might have had
a problem spelling his own name right, but did something very important -
he invented photo sequences, which decided the bet in favor of those who
said all four of a galloping horse's legs leave the ground at times.  More
importantly, he introduced a concept leading directly to MOVING pictures.
and all those felicitous movie remakes of the Summer of 2001.

Speaking of regression, it's rather sad to contemplate that this unique,
brave and important festival of contemporary music - associated with Lou
Harrison (one of the festival's founders), Carlos Chavez, Aaron Copland,
Dennis Russell Davies (music director here for 16 years), so many others -
would end up with such a thoroughly wretched attempt at music drama.

Perhaps that's too harsh.  In truth, the piece lacks only music and drama;
otherwise, it's fun.  Stage director Michael Scarola and a hard-working
staff cleaned up an incomprehensible, faux-Gertrude Stein libretto (by
Robert Malasch), and they obtained a great collection of Muybridge works
to project throughout the evening.

Still, as the 75-minute work unfolded - it feels about three times that
length - I couldn't help recalling a strangely pertinent San Francisco
event this week.  At the opening of the "Ansel Adams at 100" exhibit at
MoMA, a faulty air-conditioning fan's belt kept clicking against some
obstacle.  There are works by Glass I appreciate, especially the "Cocteau
operas" and the great soundtrack for "Mishima," but "The Photographer"
music is mostly that of a faulty fan belt, something that makes ostinato.
well.  repetitious.  The amazing thing was that the festival orchestra,
under Alsop's precise and committed direction, performed exceptionally
well.  Alsop's own violin solo made this early throwaway Glass sound almost
like real music.  Those poor nine singers in the chorus struggled through,
pa-pa-pa-ta-ta-ta, lame at first, even heavily miked, but with good
diction, hanging on through cruel and pointless requirements, barely able
to finish.  My heart goes out to them.

What is even worse than the "music" is the incongruously complete lack of
drama.  Glass and his librettist apparently modeled the piece after "The
Drunkard," but couldn't quite duplicate the theatrical "substance" of 19th
century American melodrama - however much fun may be obtained from the
genre in the hands of high schools and amateur drama companies in small
rural communities.

In spite of the enormous potential in Muybridge's story, "The Photographer"
provides NOTHING.  No information about, no explanation for the man's
character or his accomplishments, no description, portrayal, insight,
character development.  nada!  You see the pictures, witness an amateur
play about Muybridge killing his wife's lover and his subsequent acquittal
(the chorus acting as jury), some "pictures-come-to-life" scenes (which go
on forever and mean nothing), and a lengthy, pointless and unlovely dance
segment, choreographed by Maria Basile.

Call it opera, "a mixed media work" (as the program does) or an
"experience" (Alsop's word for it) - any music drama needs music and drama.
"The Photographer" comes up way short in the former, scoring an infuriating
zero for the latter.

But hope spring eternal:  among upcoming festival programs, Saturday's
Jennifer Higdon-John Adams-Christopher Rouse concert is a good bet; the
festival-closing San Juan Bautista Mission program even better:  the US
premiere of James McMillan's Second Symphony, the West Coast premiere of
Rouse's "Rapture," and Einojuhani Rautavaara's "Angel of Light."

Janos Gereben/SF
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