- David Alden (director)
David Alden (born
1949 in New York City) is a prolific theater and film director known for his post-modernist settings of opera. He is the twin brother of Christopher Alden, also an opera director in the revisionist mold. The two brothers have covered much of the same repertoire in their long careers, but whereas Christopher's operatic settings place greater emphasis on his characters' emotional range, David's protagonists are more broadly caricatured and his productions far more politically charged. Another distinguishing feature between them is that David has been more active in Europe throughout his career, having enjoyed a particularly close creative partnership with Sir Peter Jonas for more than two decades, at both theEnglish National Opera and theBavarian State Opera .Early life
David Alden and his identical twin Christopher were born into a show business family closely tied to Broadway. Their father was the playwright
Jerome Alden , and their mother was the ballerinaBarbara Gaye , who danced in the original productions of "On the Town" and "Annie Get Your Gun" withEthel Merman . As eight-year-olds, they listened at home to recordings ofGilbert & Sullivan operettas, [cite news|title= Will Orfeo go to the Disco?|author= Rupert Christiansen |publisher= Telegraph |date=2007-02-08 ] and as teenagers in the mid-'60s, they frequently bought standing room tickets at theMetropolitan Opera . [cite news|title= Twin Powers |author= Stephen Moss |publisher= The Guardian |date=2006-05-26 ] By age 13, both had decided they wanted to direct opera.David studied at the University of Pennsylvania and like his brother, launched his directing career with
Opera Omaha in the 1970s. In 1976, he visited Europe where he immersed himself in the cultural stream of contemporary opera directors the likes ofGiorgio Strehler ,Harry Kupfer ,Hans Neuenfels andRuth Berghaus . Theirs was a generation of direct heirs to the Expressionist movement and, in particular, toBertolt Brecht . For Alden, the exposure was a revelation that unlocked intense passions he had long wanted to express in musical theater. His first European production in the late ‘70s was a "Rigoletto " forScottish Opera that, he says, was assailed by the critics because "in England, it was still very early to speak directly to the audience with the style I was attempting and place passion and schizophrenia on the stage." [ [http://www.bayerische.staatsoper.de/spielplan/v_inszenierung.php?id=64&termin=&l=en&dom=d General Director Peter Jonas talks to stage director David Alden (1994)] ]In 1980, Alden was tapped by the
Metropolitan Opera to replace the lateHerbert Graf in its restaging of "Wozzeck " as well as the revivals in 1985 and 1988. As John Rockwell noted inThe New York Times , "Alden's staging… (is) indebted to Expressionist films like "The Cabinet of Dr. Caligari ", full of stark silhouettes and lurching zombies." [cite news|title= A 'Wozzeck' With Staying Power|author= John Rockwell |publisher= The New York Times |date=1989-12-23 ]Power House Years at English National Opera
In 1984, Peter Jonas — formerly artistic director of the
Chicago Symphony Orchestra — was named to succeed the Earl of Harewood as general director ofEnglish National Opera . Together with music directorMark Elder and stage directorDavid Pountney , they became the ruling "Power House" triumvirate that re-invigorated the artistic direction of ENO with a series of modernist interpretations of classic operas as well as productions of newly commissioned operas. That year, David Alden staged a controversial ENO production of Tchaikovsky's "Mazeppa" that became emblematic of the new era. At the end of Act II when the hero Kochubey and his friend Iskra are dragged to the executioner’s block, Alden shocked his audience with a gruesome chainsaw massacre that set the tone for the bloody mad scene in Act III and forever enshrined his production in the minds of London opera goers as "the Chainsaw Mazeppa" that "became a sort of shorthand for the entire Jonas project — brutal, uncompromising, unmissable, the ultimate succès de scandale." [cite news|title= Twin Powers |author= Stephen Moss |publisher= The Guardian |date=2006-05-26 ]Over the next decade, Alden continued in his role as provocateur and key collaborator of the ENO Power House with
Giuseppe Verdi 's "Simon Boccanegra " and "Un ballo in maschera ",George Frideric Handel 's "Ariodante ",Hector Berlioz ' "La Damnation de Faust",Richard Wagner 's "Tristan und Isolde " and more recently, a 2006 production ofLeoš Janáček 's "Jenůfa " that won an Olivier Award for Best New Opera Production.Bavarian State Opera
In 1993, Peter Jonas became "intendant" of the
Bavarian State Opera , and from then to his departure in 2006, he made David Alden productions a mainstay of his tenure. Those included a Handel series with "Ariodante ", "Orlando", "Rinaldo" and "Rodelinda ";Claudio Monteverdi 's "L'incoronazione di Poppea " and "Il ritorno d'Ulisse in patria ";Richard Wagner 's "Tannhäuser " and "Der Ring des Nibelungen ";Francesco Cavalli 's "La Calisto ", Verdi's "La forza del destino ", Tchaikovsky's "The Queen of Spades" andAlban Berg 's "Lulu".At the 2006 Munich Opera Festival, the "Staatsoper" made the extraordinary gesture of reviving eight of those productions to celebrate its association with Alden. In addition, he was awarded a special Bavarian Theater Prize for Individual Artistic Achievement in recognition of his artistic contributions to the Bavarian State Opera.
Directing Career in Europe and the U.S.
In Europe, Alden has also produced operas for
Welsh National Opera ,Vienna Volksoper andKomische Oper Berlin . He staged a new production ofThomas Adès ' "Powder Her Face " for theAldeburgh Festival and has mounted operas in Cologne, Frankfurt, Antwerp and Graz.Alden’s collaborations with American companies include operas for
Lyric Opera of Chicago ,Metropolitan Opera ,Houston Grand Opera and theSpoleto Festival USA . He created the American premieres ofSiegfried Matthus ' "Judith" forSanta Fe Opera andKarol Szymanowski 's "King Roger " forLong Beach Opera , a production sodeconstruction ist that the reviewer forThe New York Times reported "the opera still awaits a true American premiere." [cite news|title= Szymanowski's 'King Roger' in California|author= Will Crutchfield|publisher= The New York Times |date=1988-01-26 ] In 1990, he mounted the world premiere ofWilliam Bolcom 's cabaret opera "Casino Paradise " at the American Music Theater Festival in Philadelphia, and in 1992, he co-directed — with his brother Christopher — the three Mozart/Da Ponte operas in a production for theChicago Symphony Orchestra led byDaniel Barenboim .For film and television, Alden has directed
Franz Schubert 's "Die Winterreise" withIan Bostridge andJulius Drake ,Kurt Weill 's "Die sieben Todsünden" and a documentary on the life of Verdi for BBC Television. Several of his stage productions have been filmed for wider video release.Opera as Political Theater
David Alden’s opera settings are known for their expression of rage at the human condition. He has also been in the forefront of presenting opera as a running commentary on current or near current historical and political affairs. His 1988 production of Berg's "
Wozzeck " forLos Angeles Opera was recast as a Vietnam era tale of moral corruption where "Wozzeck and his cronies are Green Berets packing machetes and M-16s," where "the Captain is a cigar-chomping skinhead in backpack and fatigues" and in whose "dreamlike escapes from reality... Wozzeck comes home to his girlfriend Marie after a hard day of defoliating forests and hunting Viet Cong. Clearly, Alden’s apocalypse is here and now." [cite news|title= Alden’s grotesque 'Wozzeck'|author= David Buendler|publisher= Pasadena Star-News|date=1988-12-04 ]His first production of
Richard Strauss ' "Salome" in 2006, presented in Lithuania, eschewed the biblical timeframe ofOscar Wilde 's original for a more contemporary, Soviet era setting exposing "fifty years of occupation, suppression and persecution" with Herod portrayed as a debauched "dictator who senses the approach of the end of his regime." [ [http://www.opera.lt/DesktopDefault.aspx?tabID=625 A Long Fuse] ]And though Alden's Munich staging of "
Rinaldo " in 2000 pre-dated September 11 andGeorge W. Bush 'sIraq War , he had the timely insight to move the opera's action from the medieval Crusader era ofTorquato Tasso 's "Gerusalemme liberata" to the modern day Middle East and to " [make] it something of an American Radical Religious Right Crusade... [putting] a self-promoting contemporary Protestant Christian Evangelist center stage." [ [http://www.nytheatre-wire.com/lt03073t.htm David Alden's Post-Modernist 'Rinaldo'] ]References
External links
* [http://intermusica.co.uk/artists/stage-director/david-alden/biography David Alden Intermusica Biography]
* [http://www.camihall.com/?cat=Opera&webid=1866 David Alden Columbia Artists Biography]
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