Stellar cast and instrumentalists were champions for Davis’ music, but the Detroit Opera premiere of this revision was somewhat muddied by confusing production decisions
When “X: The Life and Times of Malcolm X” premiered in 1986, there had never been another opera like it.
On Saturday, an excited crowd packed into the Detroit Opera House for what is “X’s” third full production. Five hours before in Buffalo, a White supremacist gunned down 13 people in a supermarket — 11 of them Black.Advertisement The daring, genre-leaping work, released as a 1992 double-album, will be recorded anew in June. The Metropolitan Opera’s 2023 performance of ‘X’ is set to be filmed for an HD theatrical release
Soprano Whitney Morrison doubled as Malcolm’s mother Louise and his wife Betty. She was poignant as Louise, relating the story of how their house was burned down by the Klan and later going catatonic after her husband’s death. As Betty, expressing doubt for her family’s future and in Malcolm’s conflict with the Nation of Islam, Morrison’s lush vocals were radiantly lovely.Conductor Kazem Abdullah led the pit orchestra through Davis’ tricky changing meters and difficult polyrhythms.
Robert O’Hara’s direction, Rickey Tripp’s choreography, and Clint Ramos’ set design confused more than elucidated. A small proscenium arch with a painted hilly landscape on the backdrop appeared upstage throughout the production. If you didn’t recognize it as representing the Audubon Ballroom where Malcolm X was assassinated, its appearance through the show was confusing.
Elsewhere, stage directions for singers and on-stage extras in the libretto were replaced by four modern dancers. A riot where a policeman accused a boy of theft and shot him? We got the dancers loping across the stage, walked back by two policeman.
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