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Phelim McDermott directs following his production of Satyagraha for ENO and the Metropolitan Opera, New York, while Gareth Jones conducts.
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If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. HAPPINESS, I have often maintained, is a state that occurs when experience surpasses expectations. I feel sure that must explain why I felt so uplifted on coming out of the London Coliseum at the end of Philip Glass's new opera, The Perfect American, about the last few months of the life of Walt Disney. Even more impressive than Christopher Purves was the production itself, directed by Phelim McDermott with his theatre company Improbable responsible for the excellent fast-moving  design, created by animations projected on numerous curtains falling from the ceiling. You must set your browser to accept cookies and to enable Javascript in order to access certain functions of this site, including the purchase of tickets. There were a small but substantial number of children dotted around the auditorium at the opening night of The Perfect American, and one hopes they hadn’t been led to expect singalong-a-Disney, all bright colours and catchy tunes.
Do I read as subtext the awful truth that Glass's music has not evolved - unlike Adams' and Reich's - does not evolve and that despite the excellent cast this one won't enrich or enlighten those like myself with an abhorrence for the style? Yes David - an accurate reading of the sub text .As one review has it ''tofu-textured pap''.which drove me from the theatre as soon as I could get away !
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Learn more about a few holidays celebrated by many Americans, such as Independence Day, Groundhog Day and Thanksgiving. If you would like to know more about the American holidays, click here to read the text Tricks, Treats and Turkeys. Glass's 24th opera was commissioned by English National Opera and Teatro Real Madrid to mark the composer's 75th birthday. British baritone Christopher Purves is Walt Disney, and soprano Janis Kelly creates the role of Disney’s studio nurse and confidante.
Modern operas rarely leave me feeling happy, and the music of Philip Glass has never done so before, which is why my expectations were so low, but I found the whole experience of this unusual work thoroughly enjoyable.Glass is an interesting composer. Without this concept, the whole opera would have become too bogged down in Glass's music and Rudy Wurlitzer's rather plodding libretto, but the costumes, the choreography, the animations and a brilliant portrayal of an animatronic Abraham Lincoln by Zachary James all lifted the overall impression considerably. The piece takes place in the last few months of Walt Disney’s life, as his diagnosis with late stage lung cancer prompts introspective angst about the meaning of his success and legacy, and the terrible contrast between his own mortality and the agelessness of his creations. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for ?2.95 per month or ?25 per year. Performances took place in Madrid at the beginning of this year and the production is staged at ENO in London throughout June. Often almost unbearably dreary and repetitive, his music is not designed so much to be listened to as to emphasize the mood of the onstage action.
Returning to the theatre after the interval for the second half, I noticed that some of the seats that had been taken in the first half were now empty. All I can say is that the people who had occupied them must have had much higher expectations that I did. The percussion writing gives a strong rhythm to the whole piece, with the choo-choo-train sounds coming from the orchestra during one sequence particularly delightful and effective.There are two real stars of this production.

Or perhaps they were just disappointed that Mickey Mouse and Donald Duck did not make appearances. Two large camera cranes suspended from above circle each other, while the cameras themselves are projectors in disguise. Sketches on drafting paper spring into animated life, which, projected onto sheets of gauze, hang hologrammatically in the air. Due credit to Leo Warner (video designer) and Joseph Pierce (animation director) who provide much of the visual appeal of the production.
Disnification, someone once said, is the propaganda wing of Coca-Colonialism, and Purves perfectly captures the conflicts created by the Disnification of Walt Disney himself: the more his company grew and the closer he came to his dreams of world domination through the unreal apple-pie and innocence image he sought to project, the more he lost control of his own identity. Although no Disney characters appear, the spectre of Mickey is a frequent theme in the projections, represented simply by one large circle topped by two smaller ones.Disney’s disdain for the employees who produce his art is a central themePhillip Glass has tended to be drawn to themes in which the theatre is psychological and meditative, and The Perfect American follows that pattern by offering little in the way of forward narrative momentum – the 13 scenes which make up the action may seek to illuminate aspects of Walt Disney’s life, but do not suggest anything like cause and effect. Hiding behind the wide-eyed purity of Bambi and Mickey Mouse was a ruthless and domineering Chief Executive. Here he is reduced to a peripheral role, though Donald Kaasch’s portrayal of Dantine’s gradual descent into embittered destitution is a highlight of the production.Walt himself is played by the masterful Christopher Purves, whose natural ease and presence make him a convincing tycoon. John Easterlin’s brilliant turn as Andy Warhol at the beginning of Act II offers a dash of levity in the otherwise dark world of the opera, while Zachary James as the malfunctioning animatronic Abraham Lincoln (pictured above by Richard Hubert Smith) is at the centre of probably the most memorable scene, his brilliantly lurching motion presumably schooled by choreographer Ben Wright.Movement and dance are a large part of the production, with a troupe of dancers ably switching between the roles of faceless animators, nightmarish bunny rabbits and helpful stagehands.
Elsewhere, the choreographed movement is less effective, as when at various points cast and chorus enact a rather stagey slow motion, the feeling being one of waiting for the music to catch up.Conductor Gareth Jones digs into Glass’s undulating textures and produces a very subtle and atmospheric performance.

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