Afterword: An Opera In Two Acts
Tundra/New Focus, 2023
8/10
Listen to Afterword: An Opera In Two Acts
The first opera from George Lewis, Afterword made its first appearance at the Museum of Contemporary Art Chicago in 2015, and here with the International Contemporary Ensemble and a trio of vocalists we’re treated to two discs from the live performance.
After the brief and dense “Prolouge to Scene 1” opens the listen with quivering strings and deep drums, “Scene 1: Down South” follows with Julian Terrell Otis’ expressive tenor in the cinematic climate that uses Joshua Rubin’s clarinet strategically.
Deeper into the middle of Act One, “Prologue To Scene 4” benefits much from Joshua Modney’s skilled clarinet amid the unpredictable background noises, while “Scene 5: Naming” puts Joelle Lamarre’s soaring soprano to good use alongside Michael Nicolas’ gripping cello.
The back half of the listen is equally absorbing, and begins with animated vocals of “Improvisation: Remembrances”, where David Byrd-Marrow’s well timed horn won’t go unnoticed, and it isn’t long until “Scene 9: Departure” moves with a frisky and meticulous demeanor via the start and stop formula that spotlights Cory Smythe’s piano. The listen exits on the 16+ minutes of “Scene 11: Afterward”, where Gwendolyn Brown’s stunning pipes harmonize with the tenor for the vibrant finish.
Lewis cites this work as an opera of ideas, positionality and testament to the vision of the Association of Creative Musicians, a Chicago born and globally celebrated African American collective that continues to explore innovative and influential ideas- much like ones present here.
Travels well with: John Aylward- Oblivion; Eugene O’Brien- Algebra Of The Night