“It was an honest mistake,” Copeland said in a telephone interview earlier this month.
The opening of Waters’s “Ça Ira,” Allan Kozinn wrote in the New York Times, is “couched in Brahmsian moves and sonorities, and the work rarely lurches forward.” And John Rockwell, also in the Times, criticized the Cleveland world premiere of Copeland’s first opera in 1989, “Holy Blood and Crescent Moon,” for “innocently amateurish music that tries its best to sound 19th-century-operatic, but succeeds only sketchily.” The stereotype about rock musicians’ forays into classical music is that otherwise innovative musicians, faced with the “classical” label, suddenly do an about-face and try to straitjacket themselves in traditional, old-fashioned musical models. “I think when you do something as engrossing as opera,” says Copeland, who approached his first opera commission in 1989 as a kind of a lark, “every time you figure something out, you want to get it better next time.” Dee” made a splash at the Manchester Festival in 2011, and was performed at the English National Opera during the London Olympics in 2012. His “Monkey: Journey to the West,” which opened in 2007, just ran at New York’s Lincoln Center Festival, and his “Dr. The indie singer-songwriter Rufus Wainwright has seen several productions of his opera “Prima Donna,” which was started as part of the Metropolitan Opera’s commissioning program, though never performed there.Īnd Damon Albarn, of Blur and Gorillaz, may be the most successful of all. Stewart Copeland of the Police recently attended the American premiere of his fourth opera (a one-act setting of Edgar Allen Poe’s “The Tell-Tale Heart” that opened at Covent Garden in 2011), and is working on his fifth. Pink Floyd’s Roger Waters spent years writing and reworking the French Revolution epic “Ça Ira,” released as a recording in 2005 (with Bryn Terfel among the singers) and performed a couple of times since. A number of rock musicians have been trying their hands at opera. It’s based on the short play “The Ghost Sonata” by the 19th-century Swedish playwright and author August Strindberg, and, in a brief TV interview captured as he left a performance of Philip Glass’s new Walt Disney opera, “The Perfect American,” in June, Jones said he was halfway through the first act. He isn’t planning on going to operas, or listening to them. “2014 is full of opera for me at the moment,” Jones said. The iconic band’s bass player, John Paul Jones, scotched the most recent round of rumors about a possible reunion concert or tour next year. Led Zeppelin fans found a new reason to dislike opera this year - if they cared enough about opera to dislike it in the first place.
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