A Nativity
oratorio by the composer
John Adams (1947-?), El Niño is the story of the birth of
Jesus and the events surrounding it. From
the annunciation and
the visit to Elisabeth, through the
birth and adoration of Jesus, to
the massacre of the innocents by Herod and
the flight into Egypt, the oratorio freely flows over a long continuum of time and place. It draws its text from multiple sources, from the Old Testament] prophets
Haggai and
Isaiah, to the modern day Mexican poet and novelist
Rosario Castellanos. Other sources include:
Sor Juana Ines de la Cruz,
Gabriela Mistral,
Ruben Dario,
the Wakefield Mystery Play, Martin Luther's
Christmas Sermon, passages from the Gospel of
Luke and a few "
gnostic" gospels from
the Apocrypha. Appropriately, it is sung in
English,
Latin and
Spanish.
The world premiere took place in Paris, France] on December 15, 2000 and included not only the full orchestra, chorus, and 6 soloists but a multimedia aspect as well (which is not required for performance, but was added by Peter Sellars, a frequent collaborator of John Adams) of film, dance, costumes, and lighting. The film is interesting in itself: a silent movie of a modernization of the Christ child story, filmed eloquently and harshly with images of L.A. street life. The American premiere took place January 11, 2001 at Davies Hall in San Francisco. Both were conducted by Kent Nagano and had soloists Dawn Upshaw, Lorraine Hunt Lieberson and Willard White in the three main roles. As well as a full SATB chorus and children's chorus, the piece is orchestrated for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 french horns, 3 trombones, 2 steel string guitars, 1 harp, 1 piano, 1 keyboard sampler, a variety of percussion and a minimum of 14 violins, 6 violas, 6 celli, and 4 contrabasses.
The play on words with the title is intentional, meaning both "the Christ child" and the phenomenon of nature. Indeed, the music is roiling and forceful in typical John Adams style. All of Adams' minimalist music pushes the boundary of sonic complexity, being lush with rich soundscapes, and El Niño is his "most powerful and affecting and sublimely assured music".
"It is a total experience--confusing, overwhelming but also, in its multiple parts, liberating. It allows nothing to be taken for granted, which is, after all, the whole point of a miracle"
Information culled from:
www.earbox.com
The Los Angeles Times January 13, 2001
The New York Times January 15, 2001