What made this an L.A. Opera event was the live music by Mathew Aucoin, the current Artist in Residence. Like traditional silent movie music, it included lots of recycled material. I caught the bits of Pierrot Lunaire, Verklärte Nacht, and Tristan, but not Schubert’s Gretchen, or the Zemlinsky. Aucoin’s collaging was clever, but I almost prefered his solo piano vamping.
Liv Redpath provided vocals throughout, switching from Pierrot to Gretchen to Isolde without breaking a sweat. Phenomenal.
It wasn’t the most immaculate print—they didn’t identify what it was. Am I sounding like a fussy old classicist, whose first question is not What do you think of it? but Which edition are you reading? Unfortunately with movies in general and silents above all, it’s a valid question.
It’s great that there were all these people at the Ace who who had never seen an opera, but many of them seem not have to have ever sat through a silent movie before. Yes, there are campy moments in Nosferatu, but too much laugher was distressing. Ellen glancing out at a street filled with undertakers carrying away coffins, her confused mix of disgust and fascination—it’s not quaint or irrelevant.