Having recently written about perhaps most most poignant #Me Too moment in the Bible -- well, not in every version of the Bible -- I was interested to read the following story in the May 4, 2019 New York Times: "La Susanna Topples the Patriarchy." (Click on that link if you wish to read the review.)
I wrote about Susanna's story after listening to the streamed version of Handel's oratorio of the same name as performed by Trinity Church's outstanding orchestra and chorus.
In contrast, the Times review cited above concerns a performance of the story by Heartbeat Opera and Opera Lafayette at the Brooklyn Academy of Music (BAM). It's based on a 1681 work by Alessandro Stradella, but apparently significantly re imagined to enhance it's relevance for a contemporary audience. Unfortunately, I am not currently in New York and won't be able to see it.
The most significant change is that in the BAM version, the young Daniel (who goes on to become an important Biblical prophet) isn't the person who saves Susanna. After all, he is a male and having a man save a woman just won't do in the prevailing social climate. This version, according to the review, is about "a young feminist's coming into her own."
Interesting. There is little in the Biblical version that would suggest Susanna is a feminist.
How does the BAM production stack up as "an evening out?"
"This production is meant to be a lecture. It certainly felt like one," said Joshua Barone at the conclusion of his review.
I think I'll listen to the Trinity Church version again.
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