The Arrival of Osvaldo Golijov’s Music at the Metropolitan Opera

After nearly two decades of anticipation, the music of renowned composer Osvaldo Golijov has finally graced the stage of the Metropolitan Opera. However, the work that has made its debut is not the one he initially envisioned.

In 2006, before his tenure as the company’s general manager, Peter Gelb announced an ambitious commission for Golijov, who had gained acclaim for his vibrant and multicultural masterpiece La Pasión Según San Marcos. The plan was to create a new opera inspired by Euripides’ Iphigenia in Aulis, with a scheduled premiere in the 2018-19 season.

However, by 2016, amid a period of creative stagnation for Golijov, known for his struggles with deadlines, the project was ultimately scrapped. Fortunately, there was another Golijov opera readily available for the Met’s programming: Ainadamar, a stunning fantasia centered around the life of the Spanish poet and playwright Federico García Lorca. Since its premiere in 2003, this work has become a staple in the opera repertoire, frequently performed and even showcased in New York on multiple occasions.

Thus, Golijov finally had the opportunity to take his bow at the Met, with the much-anticipated opening of a new production of Ainadamar on Tuesday. This production is characterized by a fluid staging that immerses the audience in a vibrant world filled with flamenco spectacle. While the visual elements of the performance were assured and dynamic, the musical aspect left something to be desired, indicating that after all these years, the Met still seems to be grappling with fully embracing Golijov’s unique style.

The production, directed by Deborah Colker, features constant flamenco choreography, which adds a rich layer to the performance, courtesy of both Colker and choreographer Antonio Najarro.