'Brokeback Mountain' Opera: The Critics Weigh In

Live Webcast: Friday at 2 pm ET

Thursday, January 30, 2014 - 03:11 PM

Reviews of Charles Wuorinen and Annie Proulx's new opera, Brokeback Mountain, are trickling in. Most critics are in agreement that the opera, which premiered on Tuesday at Teatro Real Madrid, has some masterful writing and largely fine performances. But they share reservations about its modernist score and dense libretto.

Originally conceived for New York City Opera, the opera is based on Annie Proulx's short story and Ang Lee's Academy Award-winning film of the same name. It stars Canadian bass-baritone Daniel Okulitch and American tenor Tom Randle as closeted ranch hands Ennis del Mar and Jack Twist.

For those who can’t make it to Madrid, the opera will be streamed live on Friday, Feb. 7, 2014 at 2 pm ET. You can watch the opera online, via Medici TV, here at WQXR.org.


Select Reviews:

Anthony Tommasini, in the New York Times, calls Wuorinen’s score “intricate, vibrantly orchestrated and often brilliant” but adds, it also “comes across as a little too brainy and relentlessly busy."

“To his credit, there is not one saccharine or melodramatic touch in the score,” Tommasini continues. "Still, you yearn for the music to sing, to convey the moments of romantic bliss and sensual pleasure that the uptight Ennis Del Mar and his more daring companion, Jack Twist, experience.”

Financial Times music critic Shirley Apthorp writes that the opera “succeeds only partially.” Describing the libretto as “too wordy," she notes that the work should have been a provocative last gesture by ousted artistic director Gergard Mortier.

Yet, "after two solid hours of male-male intimacy and marital infidelity, complete with loud percussion and partial nudity, the audience responded with uniformly polite applause,” Apthorp reports.

“Brokeback – the Musical it most emphatically isn't,” writes Andrew Clements in the Guardian. “For however striking it is, Wuorinen's rather dry, often etiolated music, sometimes recalling late Schoenberg, sometimes serial Stravinsky, rarely transcends the text enough to enhance the drama rather than just adding rather terse punctuation and commentary to it."

Clements adds: “The generally sparse scoring at least means that a great deal of Proulx's text gets across in the performance, but that's a mixed blessing.”

On the website BachTrack, critic Laura Fuornes notes how Wuorinen’s craggy score aims to depict the dangers of the protagonists' situation. "His music, however, never manages to be truly unnerving," she writes in a contrarian review. "If anything, it is too easy to listen to, its descriptive nature more clichéd than evocative."

Spanish critics may have taken a local sense of pride in the work, which has been one of the most anticipated events in the international opera season. Juan Angel Vela Del Campo writes in El Pais, "The libretto is descriptive and leaves no room for ambiguity. It is transparent and sometimes, alas, too predictable, despite the introduction of imaginative ghost and choir. Emotions are contained operatically. The dramatic tension is heightened by the music composed by Charles Wuorinen. It is well constructed and it creates a rich atmosphere by imagination and variety."


More in:

Comments [6]


I agree with HD--cinema is the art form for our time. I've always thought that Puccini would have succeeded brilliantly in movies; I just wish the big emotions in Brokeback Mountain had received more Puccinian treatment.

The problem with the opera, which I saw last week, is that Wuorinen pulled his punches, allowing the women more expressive freedom than the protagonists. He may have wanted to stress the tragedy of two people who love each other but can't say it, but failure to communicate doesn't seem like an ideal theme for an opera.

Feb. 07 2014 12:44 PM
Nyer from NY

All I was suggesting was that the movie was not an opera. I did not suggest the story was not worthy of being made into an opera, as it has.

Feb. 02 2014 08:17 PM

Well put. I, for one, am glad that the story has gotten a new treatment.


Feb. 02 2014 01:50 AM
ethan from madrid

dear NYer from NY, the source material is not the movie, but the story upon which the movie was based. so your comment doesn't really make sense. and of course it wasn't an opera until it was reimagined, rewritten, composed, and staged as an opera. with libretto by the author of the story, in case you have any more reservations about the legitimacy of the decision to adapt the story for the operatic stage.
dear HD, see my comment above. it was not an opera. a movie is a movie. if by operatic you mean it tackled big emotional themes and involved music, then i guess you have a point. but the movie was not an opera. one easy way to tell is there was no one singing.
come see the show before you pass judgement. don't trust the critics.

Feb. 01 2014 08:46 AM
NYer from NY

I don't recall the movie featuring live orchestral music or singing. Hence, not an opera, operatic thought it may have been.

Jan. 31 2014 11:41 PM

There was already an opera based on Brokeback Mountain, one with a haunting score, beautiful mis-en-scene, and gut-wrenching performances; it's Ang Lee's already very operatic film.

Contemporary composers who wish to tackle the art form of opera would do well to recognize that fine cinema is already operatic, and that the best contemporary opera is in today's cinema. That recognition will go a long way to connecting with audiences on an emotional level.

It's understandable that Proulx would welcome a major American composer who wanted to adapt her work for the grandest of art forms, but she should have said no to Wuorinen (and waited for Adès).

Jan. 31 2014 12:47 PM

Leave a Comment

Email addresses are required but never displayed.

The WQXR e-newsletter. Show highlights, links to music news, on-demand concerts, events from The Greene Space and more.

Follow WQXR 







About Operavore


Operavore is WQXR's digital 24/7 audio stream and devoted to Opera. The Operavore blog features breaking news, expert commentary and reviews by writers Fred Plotkin, David Patrick Stearns, Amanda Angel and others. The music stream features a continuous, carefully programmed mix of classic and contemporary opera recordings.

Follow Operavore