Saturday, November 13, 2010.
Make a note of that date.
On the surface, it is just the date of a performance of “mariachi plus opera,” at Houston Grand Opera.
In reality, it was the Birthday, and World Premiere, of a completely new, spectacular, evolutionary art form.
How does one describe something that goes beyond the words that one usually uses to describe things?
Very seldom is something so much more, or so much better, than things that usually have to be described. But in the case of To Cross the Face of the Moon (Cruzar la Cara de la Luna), we are suddenly in that realm, and in a shockingly emotional way.
The Music: Was achingly beautiful. Composed by José “Pepe” Martinez, music director of Mariachi Vargas de Tecalitlán, the music for To Cross the Face of the Moon was alternately delicate, grand, somber, celebratory, melodic, symphonic, and effortlessly touching to the soul.
The Lyrics: Also written by Pepe Martinez (in Spanish, and then translated into English), were poignant, meaningful, thought-provoking, and resounding with feeling and real-life pathos.
The Story: The “Book,” the libretto, written by Leonard Foglia (Interview Part 1 & Part 2), is surprising, unnerving, haunting, emotionally gripping, and yet ultimately, transcendentally joyful, and deeply satisfying.
The Idea: Is synergistically electric, and brings into existence a whole new synthesis of musicality and emotional intensity (relatable to real-life, modern cultural experience), that did not exist before. The idea; the inspiration and brainchild of HGO General Director & CEO, Anthony Freud; seems upon viewing as something perfectly natural and obvious, and yet is in reality only something that someone with a far-reaching imagination and vision can conceive of, when it has never existed, or been created before.
The Performance: Began with a demonstration of Mariachi Vargas de Tecalitlán’s native mastery of musical performance, of which their existing reputation justifiably predicted. Then in the compositions of the opera, they magically became a symphonic orchestra ensemble of the highest order, with a musical smoothness and richness of tonality that was mesmerizing in its delicate nuance, and sweeping in its dynamic emotional impact. The operatic singing performers all contributed with their equally beautiful vocalizations, to create a rich tapestry of musical delight.
The Significance: On the surface, it is the story of the psychological and emotional outer and inner conflicts surrounding the cultural dynamics of men from Mexico leaving their families in the “South” behind to come “North” to the United States to earn a better living, and improve the lives of themselves, their families, and their children. And the pressures and stress that creates on everyone concerned.
In reality, it is a powerful musical and literary allegory for every single person who has ever come to the United States of America, looking for a better life for themselves and their families. Everyone who has come here, or is related to anyone who ever came to the USA since Christopher Columbus, should see this moving parable of conflict, sacrifice, loss, endurance, success, triumph, and personal & family, spiritual & physical victory, against all odds.
It is a universal story.
And a wonderful…wonderful…story.
The Conclusion: On the surface, it was just an emotional night of satisfying, moving, wonderful music, thoughts, and art, that one feels fortunate to have attended.
In reality, it is an occasion of much more solemn responsibility. It is a date to give sincere thanks to Mr. Freud, and Mr. Martinez, and Mr. Foglia, who through their mutual divine inspiration have given us a true, new, creative, artistic, beautiful, cultural classic. And we should all be very, very, grateful.
Thank you, Gentlemen.
To Cross the Face of the Moon (Cruzar la Cara de la Luna), will next be presented in a fully staged version at Talento Bilingüe de Houston, on December 3, 4 and 5, 2010.
Contact Gary at: garylindsay.examiner@gmail.com
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