RESURRECTION

“Librettist Laura Harrington has provided Machover with a more honorable, literate treatment of Tolstoy’s alternately dramatic and intimate probing of guilt and salvation. Machover, in turn, has given their words a richly intelligent setting, gritty at times but soaring, intensely lyrical at others, remarkable in its sure sense of propulsion Live in the opera house, or equally live as newly created on disc, Resurrection is a work of genuine originality, remarkably skillful in the vocal writing, its music imaginatively tinged – enhanced, in fact – with a light wash of Mussorgsky here, and Prokofiev there. It adds to the paltry store of worthwhile new operas a work of great attractiveness and power.” —LA Weekly

“Laura Harrington’s …story line’s dramatic tension and characters’ inner needs come across through Machover’s exceptionally clear text settings. Computer-enhanced sound sources supplement the modest, unplugged instrumental forces: sometimes with subtle underpinning of bass lines, other times in ways where “effects” pull focus from the composer’s deft and transparent orchestrations, such as in Act 2’s flogging scene. The solo singing is outstanding, notably in the principal roles. Scott Hendricks’ ringing tenor is just right for Prince Nekhlyudov, and soprano Joyce DiDonato creates a moving, multidimensional portrait of Katerina. Those who know Tod Machover’s hard-hitting, angular electronic musical theater pieces, like Valis, will probably be surprised by Resurrection and increasingly moved as the work progresses.”
—ed Distler

“Todd Machover (and Laura Harrington’s) Resurrection transforms a classic Russian novel into a powerful new American opera.”
—Joshua Rosenblum, Opera News