{"id":2801,"date":"2019-09-22T21:08:14","date_gmt":"2019-09-22T21:08:14","guid":{"rendered":"https:\/\/www.chiapatino.com\/?p=2801"},"modified":"2021-12-13T21:03:28","modified_gmt":"2021-12-13T21:03:28","slug":"cross-cultural-hybrids","status":"publish","type":"post","link":"https:\/\/www.chiapatino.com\/home\/cross-cultural-hybrids\/","title":{"rendered":"Cross-Cultural Hybrids, OPERA America"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row row_height_percent=&#8221;0&#8243; override_padding=&#8221;yes&#8221; h_padding=&#8221;2&#8243; top_padding=&#8221;5&#8243; bottom_padding=&#8221;5&#8243; overlay_alpha=&#8221;100&#8243; gutter_size=&#8221;3&#8243; column_width_percent=&#8221;100&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243; row_height_use_pixel=&#8221;&#8221;][vc_column column_width_use_pixel=&#8221;yes&#8221; align_horizontal=&#8221;align_center&#8221; gutter_size=&#8221;3&#8243; style=&#8221;dark&#8221; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; zoom_width=&#8221;0&#8243; zoom_height=&#8221;0&#8243; column_width_pixel=&#8221;600&#8243;][vc_row_inner row_inner_height_percent=&#8221;0&#8243; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; shift_y=&#8221;0&#8243; row_height_use_pixel=&#8221;&#8221;][vc_column_inner column_width_percent=&#8221;100&#8243; position_horizontal=&#8221;left&#8221; align_horizontal=&#8221;align_center&#8221; gutter_size=&#8221;3&#8243; style=&#8221;dark&#8221; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; zoom_width=&#8221;0&#8243; zoom_height=&#8221;0&#8243; width=&#8221;1\/1&#8243;][vc_custom_heading heading_semantic=&#8221;h1&#8243; text_font=&#8221;font-165742&#8243; text_size=&#8221;fontsize-181231&#8243; text_uppercase=&#8221;&#8221; subheading=&#8221;By Charles Shafaieh<br \/>\nOPERA America&#8221; uncode_shortcode_id=&#8221;209458&#8243; text_color_type=&#8221;uncode-palette&#8221; text_color_solid=&#8221;#ff0000&#8243;]Cross-Cultural Hybrids[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][vc_column_text uncode_shortcode_id=&#8221;122906&#8243;]<\/p>\n<section class=\"ig ih ii ij ik\">\n<div class=\"ds\">\n<div class=\"ar dt\">\n<div class=\"jx jy jz ka kb kc dx kd dy ke x\">\n<figure class=\"kg kh ki kj kk ds kl km paragraph-image\">\n<div class=\"kn ko dg kp x\">\n<div class=\"v w kf\">\n<div class=\"kt l dg ku\">\n<div class=\"kv l\"><img data-recalc-dims=\"1\" decoding=\"async\" class=\"pf pg fi n o fh x ff alignleft\" role=\"presentation\" src=\"https:\/\/i0.wp.com\/miro.medium.com\/max\/7086\/1%2AeuJu6zi7BKTq3ZXJAUC-qQ.jpeg?resize=840%2C560&#038;ssl=1\" alt=\"\" width=\"840\" height=\"560\" \/><\/div>\n<\/div>\n<\/div>\n<\/div><figcaption class=\"bw jn kz la gz cs v w lb lc br fy\" data-selectable-paragraph=\"\"><strong class=\"br ld\">Teatro Nacional Sucre\u2019s \u201cThe Magic Flute\u201d <\/strong><em class=\"le\">(photo: <\/em>Gonzalo Guana)<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"y il x cs cq cr\" style=\"text-align: left;\">\n<p id=\"343b\" class=\"lf lg gf bs lh b li lj lk ll lm ln lo lp lq lr ls lt\" data-selectable-paragraph=\"\"><span class=\"l lu lv lw lx ly lz ma mb mc dg\">W<\/span>hile a contemporary staging of a standard-repertory item may impose a radical shift in an opera\u2019s setting \u2014 from <em class=\"md\">Rigoletto <\/em>in Las Vegas to <em class=\"md\">La boh\u00e8me<\/em> on the moon \u2014 the score itself is usually sacrosanct. Some recent productions, though, have broken this unspoken rule. They incorporate novel, often indigenous, instruments and even the translation of entire scores into new musical idioms, in the process broadening the cultural reach of European classics.<\/p>\n<p id=\"3491\" class=\"lf lg gf bs lh b li lj lk ll lm ln lo lp lq lr ls\" data-selectable-paragraph=\"\">The Teatro Nacional Sucre in Quito, Ecuador, has on its payroll an orchestra of Andean instrumentalists but not a traditional ensemble. This gave the company a logistical rationale to create its new, reorchestrated version of <em class=\"md\">The Magic Flute <\/em>last year, in Spanish and the indigenous language Kichwa. Ch\u00eda Pati\u00f1o, the executive and artistic director of Teatro Sucre, devised a production that emphasized the similarities between Andean and Masonic symbolism. Both belief systems place special emphasis on nature, and the serpent in Mozart\u2019s opera is the symbol of the underworld in Andean mythology. The production drew a significant contingent from Ecuador\u2019s Indian communities, many of whom had never before attended an opera. \u201cThe people who would recognize Mozart absolutely did, and for the others, it was storytelling, which is what Mozart was trying to do,\u201d Pati\u00f1o says.<\/p>\n<p id=\"db8f\" class=\"lf lg gf bs lh b li lj lk ll lm ln lo lp lq lr ls\" data-selectable-paragraph=\"\">The Andes <em class=\"md\">Magic Flute<\/em> follows in the tradition of Vancouver Opera\u2019s 2007 First Nations version. A 2014 South African <em class=\"md\">Magic Flute<\/em>, from the Cape Town-based Isango Ensemble, grew out of a similar impulse to create cultural connections and expand audiences. \u201cSouth Africa\u2019s conservative operatic audience has never embraced our work, but the result is fantastic when we play abroad or in the townships or Market Theatre in Johannesburg, where the audience is younger and more mixed,\u201d says Mark Dornford-May, the ensemble\u2019s director and the author of Isango\u2019s Magic Flute libretto. \u201cWe try to get <em class=\"md\">The Magic Flute <\/em>to reflect, as close as possible, Mozart\u2019s dream and desire, but we look at it through a South African prism. Our spirits are more like Motown soul singers rather than choirboys; the flute \u2014 not a particularly South African instrument \u2014 becomes a trumpet. We can show that cultures have different perspectives on things but that ultimately humanity runs across them all.\u201d Using musical adaptations by Mandisi Dyantyis, Isango has also produced a <em class=\"md\">Boh\u00e8me<\/em>, and its Carmen served as the basis for the critically acclaimed 2005 film <em class=\"md\">U-Carmen eKhayelitsha<\/em>.<\/p>\n<figure class=\"kg kh ki kj kk ds v w paragraph-image\">\n<div class=\"kn ko dg kp x\">\n<div class=\"v w me\">\n<div class=\"kt l dg ku\">\n<div class=\"mf l\">\n<div class=\"cu kq fi n o fh x jo kr ks\"><\/div>\n<p><img data-recalc-dims=\"1\" decoding=\"async\" class=\"pf pg fi n o fh x ff\" role=\"presentation\" src=\"https:\/\/i0.wp.com\/miro.medium.com\/max\/9310\/1%2ATix0HGHGK7LUr5_F2u0paQ.jpeg?resize=840%2C546&#038;ssl=1\" alt=\"\" width=\"840\" height=\"546\" \/><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div><figcaption class=\"bw jn kz la gz cs v w lb lc br fy\" data-selectable-paragraph=\"\"><strong class=\"br ld\">Members of Mariachi Rosas Divinas in \u201cMariachi Wagner\u201d at the Dallas Symphony Orchestra<\/strong> (photo: Sylvia Elzafon)<\/figcaption><\/figure>\n<p id=\"23c0\" class=\"lf lg gf bs lh b li lj lk ll lm ln lo lp lq lr ls\" data-selectable-paragraph=\"\">Creators of these adaptations have to navigate the precarious line between insightful innovation and kitschy cultural appropriation. Guadalajara-based visual artist Gonzalo Lebrija grappled with this dilemma when creating <em class=\"md\">Mariachi Wagner<\/em> for the Dallas Symphony Orchestra\u2019s SOLUNA Festival in 2018, in collaboration with composer Jes\u00fas Echevarr\u00eda. The all-female ensemble Mariachi Rosas Divinas performed a 40-minute program of Wagner excerpts that Lebrija considered an ideal experiment in revealing the similarities between cultures through music. During initial rehearsals, though, the \u201cWagner\u201d element dominated the music. \u201cIt felt false,\u201d says Lebrija. The creative team adjusted the arrangements so that the mariachi flavor came through. Only when it approached both traditions with equal respect could the fusion take honest shape.<\/p>\n<p id=\"d1ef\" class=\"lf lg gf bs lh b li lj lk ll lm ln lo lp lq lr ls\" data-selectable-paragraph=\"\">These operatic hybrids suggest tactics for bringing diversity to the field, both in the productions themselves and in their audiences. \u201cThe confrontation with antiquated music, text and dramaturgy requires an extra amount of inventiveness and creativity to make it work here and now,\u201d says Amsterdam- based playwright and dramaturg Willem Bruls. \u201cBut dealing with old forms can create a different, better and more daring result.\u201d<\/p>\n<p data-selectable-paragraph=\"\">\n<\/div>\n<\/section>\n<hr class=\"mg fy gd mh mi gz mj mk ml mm mn\" \/>\n<section class=\"ig ih ii ij ik\">\n<div class=\"y il x cs cq cr\">\n<p id=\"9a83\" class=\"lf lg gf bs lh b li lj lk ll lm ln lo lp lq lr ls\" style=\"text-align: left;\" data-selectable-paragraph=\"\"><strong class=\"lh ld\"><em class=\"md\">Charles Shafaieh<\/em><\/strong><em class=\"md\"> is an arts writer based in New York City. His work has appeared in <\/em>The New Yorker<em class=\"md\">, <\/em>Opera News<em class=\"md\"> and other publications.<\/em><\/p>\n<blockquote class=\"mo mp mq\">\n<p id=\"a154\" class=\"lf lg gf md lh b li lj lk ll lm ln lo lp lq lr ls\" style=\"text-align: left;\" data-selectable-paragraph=\"\">This story originally appeared in the spring 2019 issue of <a class=\"bb cn mr ms mt mu\" href=\"https:\/\/medium.com\/@OPERAAmerica\/cross-cultural-hybrids-395b69305fe5\" target=\"_blank\" rel=\"noopener noreferrer\"><em class=\"bs\">Opera America <\/em><\/a>magazine, the quarterly of the national nonprofit service organization for opera. Members of OPERA America receive the print and digital editions of <em class=\"bs\">Opera America<\/em> magazine as a benefit of membership. <a class=\"bb cn mr ms mt mu\" href=\"http:\/\/operaa.me\/26uM2sa\" target=\"_blank\" rel=\"noopener noreferrer\">Join today.<\/a><\/p>\n<\/blockquote>\n<\/div>\n<\/section>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/1&#8243;][vc_empty_space empty_h=&#8221;3&#8243;][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>The Andes Magic Flute follows in the tradition of Vancouver Opera\u2019s 2007 First Nations version. A 2014 South African Magic Flute, from the Cape Town-based Isango Ensemble, grew out of a similar impulse to create cultural connections and expand audiences&#8230;<\/p>\n","protected":false},"author":1,"featured_media":2650,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[41],"tags":[42,85,86,107],"class_list":["post-2801","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-noticias-news","tag-opera","tag-noticias","tag-news","tag-la-flauta-magica-de-los-andes"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Cross-Cultural Hybrids, OPERA America - Chia Pati\u00f1o<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.chiapatino.com\/home\/cross-cultural-hybrids\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cross-Cultural Hybrids, OPERA America - Chia Pati\u00f1o\" \/>\n<meta property=\"og:description\" content=\"The Andes Magic Flute follows in the tradition of Vancouver Opera\u2019s 2007 First Nations version. 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