And a secondary one, the end of an empire threatened by Jewish monotheism and, as they say on stage, Nazarene. The opera, therefore, chooses a main plot, which is the love story between the emperor and the young Greek. The reason is that Antinous, who has great influence over the emperor, defends peace with Judea and that can weigh down the military ambitions of the military. Wainwright instead weaves a love story delivered under palace intrigue in which Antinous is assassinated by his army commander, Turbo. Hadrian decided to make him a deity after his death, drowned in the Nile, an act that has traditionally been attributed to a sacrifice by the young man in order to save the emperor from a bad omen of death. The opera, divided into four acts, reinvents a story about which, on the other hand, we know little. Mappelthorpe and the countercultural drift “One of the things that I love about opera is that there is a fantastic tradition of basing yourself on historical figures and then being able to build the story that you really want and that serves you as a creator,” he explained, in that sense. Wainwright wanted to tell a great homosexual love story and he doesn’t care about the historical consistency of the character or the time. In Hadrian, the love story between the emperor and the young Antinous prevails. But the opera has nothing to do, not even remotely, with the book that the Belgian wrote in the fifties of the last century, it does not delve into the kaleidoscopic and profound figure that it portrays of the Roman emperor and his time. “Doing an opera about Hadrian was the first idea I had when I thought of doing one, when I was reading Margerite Yourcenar’s book, which influenced me deeply,” Wainwright said at a press conference prior to the premiere. The audience spontaneously applauded the singer at this time. The aria seemed, at times, a superb 1950s blues song with elegant pop overtones. Another of those magical moments was Vanesa Goikoetxea’s aria as Adriano’s wife, a song by a woman they do not love, forgotten by Adriano’s new love, the young Antinous. That is perhaps one of the most remarkable virtues of the Canadian: bringing opera closer to the modern sensibility of the spectator and showing that this art, which is often valued as nineteenth-century, is not so or does not have to be. Wainwright’s compositional and musical manner is capable of turning this gentleman of opera and chamber music into a Nick Cave in love at times.
Hampson’s interpretation of Adriano is of a distinct vocal and interpretive quality. The libretto is by Daniel Maclvor, one of the most renowned authors, and featured one of the world’s great baritones, Thomas Hampson, a singer who also accompanies the production on his European tour. And so he did for the second opera of his career, Hadrian, which premiered in 2018 in Toronto with a staging in style, and which has arrived at the Teatro Real in a semi-staged concert version, a format that far from diminishing the proposal, modernizes it and gives it new readings. The most important thing is that for each project he is able to surround himself with the best people.
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Wainwright does not stop wasting good manners, humor and knowing how to be.Īround Wainwright gravitates that great media mixer around his figure and his great friendships, his courtship and other prosody: friend of Elton John, Joni Mitchelll, Yoko Ono, Chrissie Hynde… In addition, he is the father of a daughter of the mother of Lorca, the daughter of Leonard Cohen… The list of these types of stories of Hollywood cuché and divism is endless and perhaps not very relevant. A regular at the Nights of the Botanist in Madrid, a regular at Barcelona, in April he gave a concert at the Palau de la Música in Barcelona. Critics and audiences follow him, and they adore that intimate air with which he is able to sing his own songs without imposition and with a clear melodic gift, or wonderful versions of either the Beatles or his beloved Judy Garland. In addition, Wainwright is wanted in Spain. For more than twenty years he has been proving his talent with dazzling albums like Want One, Poses or your last job Unfollow Rules. Rufus Wainwright is touched by waste, waste of talent, charm and love given and received. A massive use, more than three hundred projected photographs of the American, too illustrative at times, but which managed to unite Ancient Rome with a current, free, beautiful and plural gay sensibility.
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Behind were three hours of a musically beautiful opera at times, wild at others, and a staging where the universe of photographer Robert Mapplethorpe reigned. Opening night ended, how could it be otherwise, with an applause of more than eight minutes, and Rufus Wainwright waving under a beautiful manila shawl and fantasy red shoes out of an electrifying Wizard of Oz.
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