courtesy of AMT Public Relations
X: The Life and Times of Malcolm X is a three-act opera composed by Anthony Davis working with a libretto by Thulani Davis based on a story by Christopher Davis. The opera was given its world premiere on October 9, 1985, at the American Music Theater Festival in Philadelphia, Pennsylvania. It was subsequently revised and expanded for performance by the New York City Opera on September 28, 1985. The opera was then given a studio recording in April of 1989, the results of which were released as a two-CD album by Gramavision. After that, the opera went dormant.
36 years later Davis again revised the score for a new version that was first performed by the Detroit Opera. That version was then recorded by the Boston Modern Orchestra Project (BMOP) and released last month. This is the latest ball that Amazon.com has fumbled; and, as has been consistently the case recently, that ball was picked up by Bandcamp, which has created a Web page for both digital streaming and downloading, as well as the purchase of the two-CD “physical" album.
Those that have been following this site for some time probably know that BMOP is not shy about taking the lead on adventurous projects. Nevertheless, as I observed about the Samuel Barber album that was released this past June, the adventure does not always yield satisfying results. The fact is that Malcolm is a difficult figure to present, even in prose drama. Watching him in newsreel footage is consistently a highly engaging experience. However, to be fair, pretty much all of the events documented in this opera took place during my student days; and the News Director at my campus radio station happened to be the son of Adam Clayton Powell Jr. In that context I found myself very comfortable with how Godfather of Harlem worked both Malcolm and Powell into the narrative; and I expect that Malcolm’s assassination will figure in the third season, which will begin this coming January.
In other words, when one takes into account the many nuanced details that one encounters when reading about Malcolm’s life and death, one is likely to agree with me that this is a story that does not lend itself to being told through opera. I am happy to give Davis points for trying. However, this is a narrative whose proper place is in well-articulated prose, which was Malcolm’s singular gift for getting others to listen and take him seriously.
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