Among the diverse projects that I undertake as Arts & Humanities producer, the type that excites me most is the opportunity to chronicle the creation of a new work. It allows me to shed some light on that ever-elusive “creative process” while interacting closely with a group of smart, talented, disciplined people who are pursuing […]
Among the diverse projects that I undertake as Arts & Humanities producer, the type that excites me most is the opportunity to chronicle the creation of a new work. It allows me to shed some light on that ever-elusive “creative process” while interacting closely with a group of smart, talented, disciplined people who are pursuing a common goal. I can’t think of a more pleasurable way to spend my time professionally.
Such was the case with 
Lilith, the new chamber opera with libretto by Allan Havis and music by Anthony Davis, based on Havis’ play of the same name. Lilith places Adam’s legendary first wife at the center of a devious parable about marriage and sexual politics. The story takes place in parallel in both Biblical and modern times and concerns both ancient figures (Adam, Lilith, Eve) and their contemporary counterparts (Arnold, Claire, Eppy), though the distinctions between the two settings and groups of characters are deliberately ambiguous.
I had collaborated with both artists previously, documenting the creation of Anthony’s opera about Patty Hearst in Concerning Tania (2001) and recording interviews and a performance of Allan’s play about the civil rights movement, The Haunting of Jim Crow (2005), and I’m a confirmed admirer of their work. Allan tackles provocative subjects in a manner that has echoes of both Brecht and Pinter, but in a distinctive voice that is his alone. Anthony is one of a handful of composers who are forging a new idiom for opera, blending the traditional with elements of jazz, Afro-Cuban rhythms and rap into a style that is eclectic but never disjointed. (One could say he’s dragging opera kicking and screaming into the 21st century, but I’ll refrain.) Needless to say, when they approached me about documenting Lilith, I leapt at the chance.
My colleagues and I spent an intensive three weeks recording various rehearsals and interviews with 
key participants, culminating in the world premiere performances on December 2 and 4 at the Conrad Prebys Concert Hall on the UCSD Campus. The result is two programs: Lilith: The Opera, a recording of the December 4 concert, and Making Lilith, a behind-the-scenes documentary about the project’s genesis and evolution (and a bit of background about the mythical Lilith, as well). Both programs are available for viewing via UCSD-TV’s Video On Demand library, along with Talking Lilith, a Web-exclusive extended interview with Anthony Davis and Allan Havis.
If you’re a fan of intelligent, provocative, innovative entertainment, introduce yourself to Lilith.
Enjoy the last moments of Summer with UCSD-TV’s coverage of this year’s La Jolla Music Society’s SummerFest!
This year’s SummerFest did not disappoint with world premieres by three Pulitzer Prize-winning American composers: Steven Stucky, David Del Tredici and John Harbison.