George Lewis’s Latest Opera Offers a Unique Perspective on the Association for the Advancement of Creative Musicians
George Lewis, renowned scholar, computer music specialist, and trombonist, has recently ventured into the world of opera with his latest composition, “Afterword: An Opera in Two Acts.” Departing from traditional dramatic conventions, Lewis draws inspiration from Anthony Braxton’s operas, where singers are not confined to portraying a single character throughout the performance. In “Afterword,” three singers rotate roles, depicting the formation and evolution of the Association for the Advancement of Creative Musicians (A.A.C.M.), a groundbreaking experimental music community. Lewis’s libretto for the opera freely adapts his celebrated historical tome on the organization, resulting in a Bildungsoper—an opera of ideas and self-discovery.
Dissolving Historical Figures into a Collective Voice
Lewis’s libretto for “Afterword” takes historical figures from the A.A.C.M. and dissolves them into a collective voice. This approach sacrifices narrative continuity but allows for stretches of poetic meditation. One such passage portrays a pivotal early meeting where association members debate the importance of exclusively performing original music. By adopting this stream-of-collective-consciousness style, Lewis invites the audience to immerse themselves in the rich history and ideas behind the A.A.C.M.
The Whirling Instrumental Variation of George Lewis
While “Afterword” may deviate from George Lewis’s action-packed chamber and orchestral scores, his signature style still shines through. The opera showcases Lewis’s distinct approach to instrumental variation, albeit at a slower pace to accommodate the conversational English libretto. The instrumental backdrop adds depth and texture to the vocal lines, creating a dynamic and engaging experience for the audience.
Gwendolyn Brown’s Extraordinary Performance
One of the standout elements of “Afterword” is contralto Gwendolyn Brown’s extraordinary performance. Brown’s vocal prowess and emotive delivery bring Lewis’s libretto to life, capturing the essence of the A.A.C.M.’s artistic mission. Her commanding presence and deep connection to the material make her performance a highlight of the opera.
Engaging with the Libretto
For those eager to fully immerse themselves in the opera’s narrative, the libretto is included with both digital and physical copies of the recording. Reading along with the stream-of-collective-consciousness libretto allows the audience to delve deeper into the ideas and themes explored in “Afterword.” This additional layer of engagement enhances the overall experience, providing a more comprehensive understanding of the A.A.C.M.’s journey.
Conclusion:
George Lewis’s “Afterword: An Opera in Two Acts” offers a unique perspective on the formation and development of the Association for the Advancement of Creative Musicians. By dissolving historical figures into a collective voice and embracing a conversational libretto, Lewis presents a Bildungsoper that explores the organization’s artistic mission and ideas. With the exceptional performance of Gwendolyn Brown and Lewis’s signature instrumental variation, “Afterword” captivates audiences and invites them to reflect on the transformative power of experimental music communities.
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