Most memorable for me was Mátti Kovler's Here Comes Messiah. His music bore a close resemblance to Bernstein's filled with all the same joy and wonder
Pete Matthews, Feast of Music
HERE COMES MESSIAH
mono-opera for soprano and orchestra
Libretto © Janice Silverman Rebibo
Here Comes Messiah!, commissioned by Carnegie Hall for the 2009 Upshaw/Golijov Workshop, follows a young woman through three stages that culminate in giving birth and oscillate between comedy and revelation. In the hospital soon to give birth, she is accosted by “chattering behind her back”. She insists all is normal and as it should be.
In Act 2, she can no longer deny her fate and her fear rises. She attempts to push down her fear with fantasies about her “cotton candy”, her sweet baby, and the niceties for him. A frightening vision of a descending falcon seems to threaten her child (the text builds a gradual allusion to the falcon and other elements in W.B. Yeats’ The Second Coming). Transitioning, both in terms of labor and delivery and into the final Act of the piece, she suffers the acute pain of being chosen and asks the ultimate questions, “Why me? Why my child?”
Act 3 brings her through the monumental throes of this seemingly unattainable childbirth, which give over to the wondrous secrets of Peliah.
Written by Janice Silverman Rebibo
Soprano, cl, vln, vla, 2 vcl, acc, p-no
toy p-no/synth, perc, electronics