George Lewis’s latest opera challenges traditional narrative structures and explores the formation of a groundbreaking music community
George Lewis, renowned scholar, computer music specialist, and trombonist, has recently ventured into the world of opera with his latest work, “Afterword: An Opera in Two Acts.” Unlike his previous chamber and orchestral scores, this opera takes a less traditional approach to storytelling. Drawing inspiration from Anthony Braxton’s operas, Lewis breaks away from the constraints of representing single characters and instead focuses on the formation and development of the Association for the Advancement of Creative Musicians (A.A.C.M.), an experimental music community. In this finely produced live recording, Lewis weaves together historical figures and poetic meditations to create a “coming-of-age opera of ideas.”
A Non-Linear Narrative Approach
Lewis’s opera, “Afterword,” diverges from the traditional dramatic structure commonly found in operas. Inspired by Anthony Braxton’s operas, where singers are not confined to portraying a single character throughout the performance, Lewis employs a non-linear narrative approach. The opera depicts the formation and growth of the A.A.C.M., a pioneering experimental music community. By rotating roles among three singers, Lewis allows historical figures to dissolve into a collective voice, resulting in a narrative that may lack continuity but offers stretches of poetic meditation.
A Bildungsoper of Ideas
Having written a celebrated historical tome on the A.A.C.M., Lewis adapts his own text for the libretto of “Afterword.” Describing the opera as a Bildungsoper, or a coming-of-age opera of ideas, Lewis explores the intellectual and artistic growth of the A.A.C.M. community. Through his libretto, Lewis delves into the organization’s artistic mission, including the tenet of all original music, all the time. This exploration allows the audience to witness the debates and discussions that shaped the community’s groundbreaking approach to music.
Engaging with the Libretto
To enhance the audience’s engagement with the opera, the libretto is included with both digital and physical purchases. This stream-of-collective-consciousness libretto allows listeners to follow along with the vocal lines and immerse themselves in the opera’s narrative. Despite the slower pace required for conversational English to flourish, Lewis’s instrumental variation remains distinct and captivating. The whirling nature of his compositions shines through, providing a unique sonic experience.
Gwendolyn Brown’s Extraordinary Performance
Among the trio of vocal soloists in “Afterword,” contralto Gwendolyn Brown delivers an extraordinary performance. Her powerful and emotive voice brings depth and nuance to the opera’s exploration of the A.A.C.M.’s formation. Brown’s interpretation of the libretto adds a layer of emotional resonance, further immersing the audience in the opera’s themes and ideas.
Conclusion:
George Lewis’s “Afterword: An Opera in Two Acts” challenges traditional opera storytelling by adopting a non-linear narrative approach. Inspired by Anthony Braxton’s operas, Lewis explores the formation and development of the A.A.C.M. through a collective voice and poetic meditations. By freely adapting his own historical text, Lewis creates a Bildungsoper of ideas, offering audiences a unique perspective on the pioneering experimental music community. With the inclusion of the libretto and the exceptional performance by Gwendolyn Brown, “Afterword” invites listeners to engage deeply with its themes and experience a thought-provoking journey through the evolution of the A.A.C.M.
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