the voyage philip glass

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The Voyage: An Opera by Philip Glass

Libretto by David Henry Hwang

The Voyage begins when the Scientist in a wheel-chair with a computerized voice-box sings:

Quarks, kooks Heretics, lunatics Lovers and defilers of God Set off in leaky vessels Towards the holes on the horizon With fautly fuel lines And failing eyesight And limbs quite inadequate And minds finally limited To the certainty That the inadequate body can follow Where the inadequate mind has been

When my daughter was born, I smiled like a hyena And for a moment I felt my legs and my limbs For a moment I knew No boundaries A body, a planet, a universe, a mind For whom the limits do not apply

The voyage lies where The vision lies There

Chorus: [ simultaneously, repeated variously, fragmented ]

Will time run backwards? Is time a spherical object? Is real time imaginary? Can particles escape from a black hole? Does a finite universe exist without boundaries? Does God abhor a naked singularity? What is the mind of God? Can man picture a universe created without God? Does God have a purpose?

Commissioned by the Metropolitan Opera. All rights reserved (c) 1992 Dunvagen Music Publishers, Inc.

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Review/Opera; Philip Glass Offers More Than Memorial Just to Columbus

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By Edward Rothstein

• Oct. 14, 1992

When the Metropolitan Opera takes the step of commissioning an opera to commemorate the 500th anniversary of Columbus's arrival in the New World, it is not offering an invitation to modesty and caution. So it should be no surprise that Philip Glass's opera "The Voyage," which received its world premiere at the Met on Monday night, can be accused of neither. It lasts nearly three and a half hours, cost more than $2 million and has something for everybody: a mixture of comforting cliche and aggressive pretense, some bombastic insistence and some tender, lyrical music that is among Mr. Glass's best. The production also has enough in it to keep the eyes occupied when the mind is not.

It has a 21st-century Coke machine and a crash landing by an alien space ship 15,000 years ago. It includes men in Victorian top hats asphyxiating in their gas masks and a mass assassination at the Statue of Liberty as a rocket blasts out of its gigantic crown. It has a scientist, resembling Stephen Hawking, floating in a wheelchair and asking about black holes. It is influenced by Doris Lessing's novels and by science fiction tales like "2001." It includes a New Ageish invocation of magic crystals and avant-gardish satires of Americana. And sandwiched among all of these fantastical conceits, there is Christopher Columbus sailing to the New World.

"The Voyage" is meant to be, in fact, a grandly scaled, grand operatic reaction to a theme that has tended to become monochromatic in recent years. Intent on avoiding the historical debates about Columbus's arrival in the Western Hemisphere (and the increasingly demonic character attributed to him and his voyage), Mr. Glass decided instead to use Columbus as just an example of a much bigger issue: the human urge to discover and the confrontations between cultures that take place after any such voyage.

It is a theme Mr. Glass seems to know firsthand: "The Voyage" itself marks his arrival in a cultural landscape to which he was once alien. Sixteen years ago, Mr. Glass's opera "Einstein on the Beach" played at the Met but only as a rental presentation; the house was filled with downtown listeners. Then in other houses came productions of the composer's new operas, gradually proceeding uptown in their New York performances, beginning at the Brooklyn Academy of Music ("Satyagraha"), continuing at the New York City Opera ("Akhnaten") and with a few detours now climaxing with a certificate of citizenship.

The opera is the most expensive commission in the history of the Met (Mr. Glass was paid $325,000) and only the second new work the house has presented in 26 years, coming just a year after the first, John Corigliano's "Ghosts of Versailles." The opera not only involved the unstinting financial support of the Met but also brought in traditional opera stars like Tatiana Troyanos and Timothy Noble along with Glass veterans like Douglas Perry. The audience, which gave the work a standing ovation, was a piquant mixture of uptown and downtown, a blend of traditional first-night operagoers and hip explorers from other musical worlds.

Undoubtedly many of the peculiarities of this work come from the confrontations of cultures Mr. Glass is concerned with: he wanted "The Voyage" to be eccentric, nonlinear, unorthodox. The composer originally sketched out the opera as an inversion of the traditional voyage, for the story, such as it is, begins with an arrival and ends in a departure. The first act tells of a crash landing of aliens during the last Ice Age, the second act of Columbus's journey and the third (in 2092) of America's discovery of life on a distant world. A prelude includes a scientist's disquisition about cosmology and an epilogue Columbus's disquisition about the virtues of exploration.

Then Mr. Glass invited the playwright David Henry Hwang, the author of "M. Butterfly," to write the detailed libretto. Mr. Hwang amplified the allusions to cultural contact and glancingly invoked other themes: the need to find order in chaos and the difficulty of determining whether one is following God or Lucifer in voyages into the unknown. But the libretto suffers under the odd constraints of the opera's structure. No theme is carried through or developed; there is no dramatic center. No characters anchor the work, and no ideas are consistently explored. One alien who lands, for example, chooses to become part of Earth's Industrial Revolution and is given his own top hat to join other asphyxiating gentlemen passing around cannon balls; the blunt idea then just disappears and has no relation to the rest of the work.

The libretto, though, was far less important than it seemed. Only about 10 percent of the words could be heard, and Mr. Glass doesn't usually pay close attention to individual words or sentences. His music uses large brush strokes to create almost Baroque blocks of atmosphere. His polyrhythms have now been joined by a long-line lyricism suited to the voice and by some intriguing experimentation with harmonies and timbres. Some segments of the music are actually haunting: the aria the commander sings when descending to Earth (ably sung by Patricia Schuman) and Columbus's nightmare music at sea (in which Mr. Glass uses a kind of harmonic sliding combined with Spanish rhythms). Bruce Ferden gave an impressive performance leading the orchestra, despite his eclipsing of many voices on stage. Even the cast members with smaller roles -- including Kaaren Erickson, Julien Robbins, Jane Shaulis and Jan Opalach -- sang with conviction.

But ultimately, despite echoes Mr. Glass sets up throughout the opera, the music did not help the drama any more than did the libretto. His style cannot easily suggest the yearning for exploration; it cannot express desire or even evoke character. It creates expanses of rhythmic patterns, which regularly give way to others. The music can create a sense of voyage but only a voyage without particulars. The churning music paints affects: anxiety, melancholy, anger, mockery, calm. In this case the result is not musical monotony, as Mr. Glass has been accused of producing, but an operatic variety show. At the beginning of the third act, Mr. Glass introduces farce and satire, which have the effect of aliens suddenly arriving and even more suddenly departing.

The costumes by Dunya Ramicova were opulent in the second act and cartoonish in the framing sections. And the production by David Pountney and the sets by Robert Israel aggravated the problems. Cliche piled on cliche. The aliens walk around in one scene gazing at their hands, as if they had just stepped out of a Robert Wilson production. Obvious icons of books and crosses and skulls keep reappearing. And the third act's buxom cheerleaders and buffoonish political leaders, all of whom are assassinated in front of the Statue of Liberty, created a tableau that was totally irrelevant to the serious departure of earthlings for other worlds.

There were only a few occasions when there seemed to be a music drama peeking out through this miscellany: it was, oddly enough, when Mr. Glass seemed most intent on imitating the old operatic world rather than importing the new. Partly because of the compelling singing of Mr. Noble, the character of Columbus became so strong a presence in the second act that it seemed a shame Mr. Glass had set his sights higher. During Columbus's sea voyage, with his visions of monsters and his recollections of Queen Isabella, there was something touchingly human in his condition. Ms. Troyanos, as the Queen, produced far too much vibrato to serve this music well, but Mr. Noble's troubled obsession came through the swirl of sound. Some of what Mr. Glass aimed for in this work was found in the details of their interaction.

Mr. Glass, at his best, can evoke a kind of tumultuous wonder at things, tinged with melancholy. There were only glints of that spirit here, lost in the midst of a dispiriting voyage. Mr. Glass has already continued his own artistic voyage since completing this opera in 1990. Now the challenge belongs to the Met, to see if there is some way its own nascent voyage of musical exploration can continue. The Voyage Opera in three acts, a prologue and an epilogue by Philip Glass, libretto by David Henry Hwang, story by the composer; conductor, Bruce Ferden; production, David Pountney; set designer, Robert Israel; costumes, Dunya Ramicova; lighting designer, Gil Wechsler; choreographer, Quinny Sacks. At the Metropolitan Opera. Scientist/First Mate . . . Douglas Perry Commander . . . Patricia Schuman Ship's Doctor/Space Twin 1 Kaaren Erickson Second Mate/Space Twin 2 . . . Julien Robbins Isabella . . . Tatiana Troyanos Columbus . . . Timothy Noble Earth Twin 1 . . . Jane Shaulis Earth Twin 2 . . . Jan Opalach

The Voyage (opera)

The Voyage is an opera in three acts (plus a prologue and an epilogue) by the American composer Philip Glass . The English/Latin/Spanish libretto was written by David Henry Hwang . [1]

The work was commissioned by the Metropolitan Opera , New York City , and first performed there on October 12, 1992 (that date being the 500th anniversary of Christopher Columbus discovering the Americas). The British premiere was in Leeds , England, performed by Leeds Youth Opera , with Johnathon Clift and Mike Williamson as the directors, with Richard Pascoe and Alex Simpson playing Columbus.

Glass did not want to create a biographical opera about Columbus, especially in a year when there were countless films, documentaries and other events doing the same job. Instead he opted to make his opera a more general study of exploration – of the oceans, of space and time and of the mind. Columbus remains a central character though, appearing in the second act and the epilogue.

We see a scientist in a wheelchair (reminding us of Professor Stephen Hawking ), pondering time and space. He sings that despite man's inadequate mind, body and technology, the will to explore and follow one's vision "towards holes on the horizon" has always existed. Meanwhile, the chorus poses eternal questions about time and space repeatedly, growing in volume and intensity.

Above an ice-age Earth, a spacecraft hurtles through space out of control. Its occupants are frantic; the Commander sings that nothing on the ship works properly, whilst the rest of the crew call out the ship's status and instrument readings. They see that the planet they are passing can support life, and they decide to make for it. As they await the inevitable crash landing, they recall moments from their lives. They survive the crash and decide to split up, each taking with them one of the "directional crystals" from the ship. Any two of these crystals will, when brought together, indicate the course back to the crew's home planet. The crew consider their new home and what sort of world they would like to live in; each has their own markedly different ideal world. The Commander leaves the wrecked ship to see what awaits her. Outside, she is met by a group of natives that dance a rite of spring and imagine the Commander to be a fantastic god descended from the sky. They sweep her up and she goes with them, becoming part of their celebration.

Spain, 1492

Columbus is at the court of Queen Isabella bidding them farewell as he prepares to set sail for the Indies. He is promised untold riches and power on his return. Suddenly this scene fades and we realise that we are aboard Columbus' ship; he has been reminiscing about his departure. It is the 32nd day of the voyage. Doubts are beginning to set in as they sail the endless blue ocean. Isabella appears to him in a vision and reminds him of the faith of Noah and of the Virgin Mary and tells him to hold fast to his faith. She promises him that by seeing the journey through he will further the kingdom of God, as well as gain riches and power. Suddenly the First Mate shouts that he has sighted land.

In a space station above the Earth, two astronomers ("Space Twins") scan for signs of life in the cosmos. At the same time, on the Earth, two archeologists (the "Earth Twins") have discovered two of the Directional Crystals from the ship that crashed thousands of years earlier. As they bring the crystals together, their scanning equipment homes in on the planet from which the space travellers in Act I originated. A mission to travel to the planet is begun and we see a terrific celebration as the ship prepares for launch, with dignitaries, politicians, dancers, musicians and a large crowd of well-wishers. The explorers enter the ship and bid farewell to their loved ones. The ship blasts off and another journey of discovery begins.

We see Columbus on his deathbed. Monks chant around him and Isabella appears to accompany the explorer on his final journey into the unknown. (She has already passed on to that realm herself). He accuses her of breaking her promises to him but she claims that he undertook his voyage for pride and vanity, guided by Lucifer . Even so, she offers herself to him but he rejects her, saying that the journey he is about to undergo is far more seductive. Pondering man's eternal quest for knowledge and exploration, he is transported up to the stars.

The libretto is published as part of Trying to Find Chinatown: The Selected Plays of David Henry Hwang by Theatre Communications Group .

In July 2006, a long-awaited complete recording of the opera became available on Glass' Orange Mountain Music label, based on the staging by the Landestheater Linz (Austria) and conducted by Dennis Russell Davies .

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The Voyage: An Opera In Three Acts

August 8, 2006 11 Songs, 2 hours, 16 minutes ℗ 2006 Orange Mountain Music

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