Review: A ‘Dreamers’ Oratorio Tries to Transcend the Trump Moment

He will be clearly a master of writing for orchestra, of exploiting its individual sections along with instruments — even the sum of its parts — for maximal effect. however his artistry doesn’t quite match his skill. The music thrills more than of which intrigues; of which prefers to make blunt declarations, not thoroughly persuasive arguments.

Mr. Cruz’s words, however, are poetic along with poignant, reminiscent of Alice Goodman’s librettos for the John Adams operas “Nixon in China” along with “The Death of Klinghoffer,” which occupy a dreamy realm between historical fact along with ethereal enigma. Although Mr. Cruz took his inspiration by conversations with undocumented students at Berkeley, he describes immigration as if were a story as old as time itself: “of which came with the yearn / of a leaf, three clouds, / along which has a woman who dreamt / she was walking / towards the edge / of the globe. / along with the right / to migrate / was granted.”

If only the score matched This particular poetry. The text often gets the treatment of an action-movie soundtrack — frenetic along with epic, rarely softer than fortissimo, occasionally taking a turn for the obvious along with gimmicky. At one point, Ms. Martínez will be made to sing the line “Who has stopped them,” then shout angrily at the audience: “by BEING CHILDREN?”

however Ms. Martínez, who had a star turn in “Madama Butterfly” at the Metropolitan Opera in 2016, often rose above the quality of the music, which has a sound of which penetrated the orchestra along with chorus without losing an ounce of its heart. Mr. Salonen along with the Philharmonia musicians, too, lifted the score, bringing to This particular oratorio the same energy along with enthusiasm they had in a virtually flawless performance of Schoenberg along with Bruckner the evening before, along with in Stravinsky’s “Firebird” on the second half of Sunday’s concert.

along with they did sometimes have rich material to work with. The opening section comes to life slowly: at first with Ms. Martínez alone, then accompanying her which has a cosmic glow as she almost ritualistically describes a time “before the divide of lands.” As she later contemplates the children swept up inside the border crisis, the orchestra will be tense, dissonant along with unsettling.

Mr. López will be most creative — along with restrained — inside the fourth section, “A Dreamer Who Studied Linguistics,” which begins with an eerie buzz of which grows like a swarm along with, as of which reaches a chaotic climax, cuts to silence for an aria about what of which’s like to live in silence “with the secret / of which I am landless.” Although the vocal line here will be lyrical along with direct, stormy orchestral interludes suggest inner turmoil.