Special Project: Margaret Garner, the opera

“Powerful ‘Margaret Garner’ cuts across the scar of America’s original sin…Translating the shame of slavery to the operatic stage would be a daunting task for any artist. But composer Richard Danielpour, working with a libretto by Pulitzer Prize-winning novelist Toni Morrison, has brought it off to stunning effect in his opera “Margaret Garner.”

“Without the prestige of a world premiere Margaret Garner must succeed solely on artistic merits. And…It’ll do fine. Luckily, the opera achieves firm footing quickly. Morrison has moments of poetic wisdom. Musically, the pace of Danielpour’s score is brisk…[with] masterly orchestration. The music achieves mesmerizing depths, partly for being contrasted with the prevailing social culture. The strengths of Margaret Garner are so considerable and wide-ranging that the piece is legitimately destined to make new friends for opera without alienating old ones.”

“Richard Danielpour’s “Margaret Garner” was a celebration—a tale of liberation—and a triumph of music, drama and performance.  No question that Morrison’s poignant text and Danielpour’s music have the power to open the doors of opera houses to a more diverse audience. An outstanding account of this new masterpiece, which drew a standing ovation from the audience.”

“Morrison has created flesh-and-blood characters anyone of any race can immediately identify with… “Margaret Garner” has entered the annals of American opera history with its debut…and judging by the opening night cheers (of the magnitude more commonly heard across the street where the Tigers play baseball) this opera may become a monumental hit — as well it should.”

“In the end, the risk paid off in an important new American work. He is most effective at his most songful Margaret’s gorgeous first-act aria A Quality Love or her bleak out-of-time intermezzo of darkness and despair after the murders. These are deeply expressive passages full of authentic emotionalism and even mystery: You can’t fake tune writing this effective.”

“The roar echoing through the packed confines of Detroit’s Opera House … was of a magnitude ordinarily associated with winning touchdowns at closely contested football games. The production seems set for a considerable afterlife.”

“Margaret Garner turns out to be an honorable achievement. Danielpour’s music is a skillful stew of American idioms and influences, ranging from spirituals, folk and jazz. Some of the most effective moments are choral – there are two choruses: African-American and white – which possess an infectious energy and haunting humanity. Danielpour writes gracefully for voices and magnificently for instruments. The diverse audience at Saturday’s premiere cheered the cast and creative team as if a masterpiece had been born.”

 “Danielpour has composed a melting pot in tones…The musical language hews to gracious harmonies.”

“The World Premiere was nothing short of revelatory. The two-act opera was by turns heart-rending, poignant and gut wrenching to watch. The audience interrupted with applause, bravos, and chuckles in the sweeter moments and roaring ovations at its conclusion. It was a first taste of Danielpour’s sophisticated, wide-ranging palette. Seamlessly joined to the music were Morrison’s powerful, eloquent words, in what may be the most exquisitely crafted libretto of our time.”

“It’s resounding opening night success, an all-but-flawless triumph, must be attributed to the production’s smooth polish and, on a deeper level, to the many buttons it pushes. It is both progressive and conservative, risky and predictable. The lesson is clear: engage an audience on multiple levels and you’re likely to produce a new hit opera.”

“Michigan Opera Theatre used a commissioned work to reach out to the large African American population of its hometown, and was rewarded with a well-made, affecting American opera whose appeal goes far beyond tokenism. The music is particularly good at expressing the humanity and depth of feeling of the slave characters through arias and ensembles. Mr. Danielpour wrote several knockout arias for Margaret. His energy and creativeness extend to the colorful orchestration, full of vibrant string writing and wind solos as well as wonderful little touches. Co-commissioning opera companies will be presenting the work, but other companies are bound to take note as well.”

“With “Margaret Garner,” Richard Danielpour and Toni Morrison have created something not seen since the Gershwin brothers penned “Porgy and Bess”—a first-class opera that can draw both black and white audiences – [which] features more than one show-stopping aria.”

“A great new American opera came to life with the world premiere of Margaret Garner…
A hand-in-glove masterpiece of words fitted to music.
Danielpour’s vocal setting seems instinctively attuned to these hardy people making the best of their difficult lives. [He] gives the black characters music that echoes black traditions like spiritual, gospel and field music. It’s never merely ersatz folk music, but a recognizable idiom wholly absorbed and converted into authentic expression. The rhetoric is pure Danielpour — ardent, vivid, direct and absorbing. All told, no less can be said of his splendid first opera.”