Original image by There Stands the Glass.
An overcome admirer told Joyce DiDonato that her Eden presentation provided him with a sacred experience during a post-concert talk at the Folly Theater on Tuesday, April 13. Unlike the emotional patron, I didn’t commune with God during the 90-minute concert. Yet I’m convinced I glimpsed the future. Eden represents a viable path forward for classical music. Four elements make the global tour extraordinary.
A Sight to Behold
Max Richter’s 2019 appearance in Austin may have been the first time I attended a classical presentation at which an even feeble attempt was made at creating a compelling visual experience. Eden possesses the production values of a concert by an upper-tier indie-rock band. Gorgeous lighting effects and a small circular platform with a pair of mobile spheres provided visual interest.
Back to the Garden
DiDonato is out to save the world. She acknowledged she’s mocked by cynics during the post-concert discussion. Yet the environmentally themed repertoire inspired me. I fully intend to plant and nurture the seeds from the packets freely distributed to members of the audience of more than 750.
Dat Voice, Tho
The diva doesn’t mind getting dirty. The barefoot soprano writhed on the floor, played air flute, shot imaginary arrows and feigned flirtations with musicians. DiDonato is among the most convincing operatic actors. And her unamplified voice had no trouble reaching my seat in the upper balcony.
The Golden Apple
The most impressive aspect of Eden may be the herculean accomplishment of shuttling Il Pomo d'Oro from city to city. More than two dozen members of the European ensemble played a enormous range of music with graceful aplomb. The absence of individual credits in the program is my sole grievance about the unforgettable presentation.